Irish minstrelsy, or, Bardic remains of Ireland; with English poetical translations

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CxJ2r /37o.5~

HARVARD
COLLEGE
LIBRARY

IRISH MINSTRELSY;

BARDIC REMAINS OF IRELAND.

En,<;r«wd Vy .' Rc««r3

Irrav u. C ri^i^ FWciu

'Ca:rbi.Aj^.

>y/u Cu^irfAa^y^fej// j/mu/ .

.HiS'] .M I is' ■•■•;• i I'." -v,

I5.\j;j)ir uvM V. :- <

KN'';i.l>li » fj : !C M. • i' A \ ^l.A 1 ♦•• >

.) ']

V O T. J.

r T iMi'.t >.-., r.iai)r 'm^^kt, »;••.' i i.

I- .1

.-^. Lj ,

IRISH MINSTRELSY,

- J//

BARDIC REMAINS OF IRELAND ;

ENGLISH POETICAL TRANSLATIONS.

COLLKTED AND EDITE]>,

WITH NOTES AND ILLUSTRATIONS,

BY JAMES HARDIMAN, M. R. L A.

" I will give thee a book— it coatuneth the Songs of the bardi of Erin, of
the buds of the days that are gone." John Phxlpot Currav.

VOL I.

LONDON :
JOSEPH ROBINS, BRIDE COURT, BRIDGE STREET.

1831.

/ (3

HARVARD
lUNlVi'-.'SITY]
Lir- Y

JUL / lyt.i'

TO THE RIGHT HONORABLE

THOMAS SPRING RICE,

REPRESENTATIVE IN PARLIAMENT FOR THE CITy OF

LIMERICK,

A STFADY FRIEND TO THE BEST INTERESTS OF IRELAND,

THIS WORK,

UNDERTAKEN WITH A VIEW TO PRESERVE AND ILLUSTRATE

A PORTION OF ANCIENT IRISH LITERATURE.

IS RESPECTFULLY INSCRIBED.

BY HIS OBEDIENT SERVANT,

JAMES HARDIMAN.

DtMin, September Itt, 1831.

CONTENTS OF VOL. I.

PJkOB

Introduction i

Memoir of Carolau xli

Memoir of Thomas Furlong Ixix

PART I. REMAINS OF CAROLAN.

"Police 60 Che<^pbh<^ll<<^n . Welcome to Carolan . 5

JVI^ipe ^<^5iiiMn|i . . . • Mary Maguire • . • 9

y^ntii bi^bhc<^ch .... Fanny Betagh ... 13

bpishicc Cp&y Bridget Cruise ... 15

lei3hic|- 3^ch s^U^p <^n

c-uiTdi6he Whiskey is the potion 19

pi<^in3|Ti3h 6j\ Yc^^-p^^p-

6^ich, no Ol-pe Che^^p-' Planxty Stafford, or

bhAill&in Carolan's Receipt . 23

eAbbh<^pc 0'Copcpi<in . . Edward O'Corcorau . 27

Yeon 1)<^pc ...... Doctor Harte ... 29

CONTENTS.

Inshin ui |Vlh$pbh<^, noyei^- O'More's FairDaugh-

bh<^c bhe<^l-<^ich-Te<^n- ter, or the Hawk

T)<^i3h of Ballyshannon . 33

Veibhlim u<^ 41^11 . . . Phelim O'Neill ... 39

piAinSiTibhe pe<^coTi . . . Planxty Peyton . . 43

|VI<^bKin Cjioipcon .... Madam Crofton . . 45

|VI<^|t3h<^i|ti<^& n-i Cho|ic|t&iii Peggy Corcoran . . 49

ye$n loneT John Jones .... 53

5p<^ein ^uinj-iun .... Gracey Nugent . . 67
fAKMc jhhmh nA Che^^l-

Ui5h Mild Mable Kelly . . 61

Cup<<.n ui h-e<^5hp<^ . . . The Cup of O'Hara . 65

[/<^ji3h<^ifn<^b bpan . . . Peggy Browne ... 67

fe^Hire bp<^bTon .... George Brabazon • . 7'

bpisMcc n-ic m |7lh<^ile . Bridget O'Malley . . 75

Ve^3h^ 5IAT . . . . • Shane Glas . ... 79

y^^m^^x piuinc^cc . . . James Plunkett . . 83

^<^nfi6h Coopep .... Nancy Cooper ... 87

[7l^pbhn<^ <^ip bh^T ^ Carolan's Monody on

nihn<^ . ...... tbedeathofhisWife 91

U%\ill-chumh<^i&h of cionn

uM3h mheic ^lib . . . Lament for Mc. Cabe 95

[/^pbhn<^ Che<^pbh^ilUin . Elegy on Caroln . . 97

\i6Am Epigrams, 110—113—117

—118—124—132

CONTENTS.

ADDENDA.

^ h-inT<5ibhe chpoibhe n<^

n-<^nm<^nn Why, Liquor of Life .141

'X \ TOO chpe^^ch ! be<^n

chedmi<^i3he ti<^ y&le . Ode to Drunkenness . 147

M<^5<^1&h Uibi|t .... Maggy Laidir ... 155

Oi6&o'nc-r<^oiCoiii&e<^lb}t&n Ode to a Minstrel . .180

♦blo3h<^bh A Fragment ... 185

]lAnn Epigram 189

*Ol-b<^n Bacchanalian . • .199

♦fyifcd 5h|iilinne $13 . . . Moatagrenoge ... 194

*C^T<^bh <^n c-T<i3<^in. . . Twisting of the Rope 195

PART 11. — SKNTIMBMTAL SONG.

l)|ii3hbTn p^bfiuic .... Bridget Fergus . ; . 206

Cibhlin ^ ftfiin Eileen a Roon . • . 211

pj^iydn Tionn Paistheen Fion ... 217

yTle bhe<^3 n-i Choin6e<^l-

bh&in * Little Celia Connellan 221

ycu<^iun n^ TO*lK^eh<^ll to- The Lass of fair flowing

bpeJ^Sh, p^bh .... tresses 225

Those thus marked * are not translated.

CONTENTS.

&|toi5hne<^n bonn . .

|VI&i|te Chuifle • . .
Cdmlrn Ciptii^^ll . .
^lii Chtiil-vhionn . •
ftoipn 6ubh ....
UilMc&n bubh ! .
Ce<^nn 6ubh bllMy •
Cibhtin ^ fiuin •
e^bhrnopn ^n Chnoic
'iliin x^ ni-b<^ile p .

belle n-i Chi<Vp<^bh&in
TpK^6h<«6he l)h'eAp<^ .

C& T<^i5he<^b<^ <^3U)- cne<^6 .

d^ifibite bheA5h-3hnuife<^ch

^^ifie ptiin

^6p<^ ^n chuil $mp<Cich . .

^Jlifli^S <^n ^i3-phi|i . . .

Ql 3h|i^6h <^3ur ^ puin 6hil.

Lord Mayo .... 229
The Brown Thorn . . 235
Cashel of Munster, or

the "Clar Bog Dear 239
Molly a Store ... 243
Catherine Tyrrell . • 247
The Coolin . . . .251
Roisin Dubh • . . 255
Uileacan Dubh O ! .259
Cean Dubh Deelisli . 263
Old Eileen a Roon . . 265
Emon a Knock . . . 269
In this calm sheltered

villa 275

Eleanor O'Kirwan . . 279
The Hunter of Bear-
haven 283

Wounded by Cupid's

burning dart . . . 287
Blooming Deirdre • • 291
Mary a Roon . . . 297
Honor of the Amber

Locks 301

The Young Man's

Dream 305

MaryofMeelick . .311

CONTENTS.

*t)eul-^ch-i-hdiTihTK^i1- . . Ballybaunis . . . 326

*l)lo3hA5h A Fragment . . . 330

*'2ln Ypeic yeSi3heAch . . The Humours of Joyce

Country . . . . 331 ^

Co|tni<^c % Young Cormac . . . 333

*Wnfin lu<^chp<^ .... The Bunch of Rushes 334

♦ConWe [/Ii^'i3he6 . . . County Mayo • . . 337

*l)lo3hd6h A Fragment .... 341

*0i& An Ode 343

l)lo5h<^bh A Fragment .... 344

*e5ch<^ill Youghal Harbour . . 348

*fyiuipnin n^ spu^^ise b^ine My fair-haired Darling 354

blcsh^bh A Fragment .... 365

INTRODUCTION.

REMAINS OF ANCIENT IRISH LITERATURE. — ^IMPORTANCE
OP OUR OLD DOCUMENTS. — EARLY FILEAS. — IRISH
MUSIC. — PRINCIPAL BARDS FROM THE ERA OF CHRIS-
TIANITY TO THE CONVERSION OF THE IRISH^ AND
THENCE TO THE LAST CENTURY. — THEIR EDUCATION,

CHARACTER, AND PRODUCTIONS. — IRISH LANGUAGE

WELL ADAPTED FOR LYRICAL COMPOSITION. ^METRB

AND VBRSinCATION. — TITLE OF THE PRESENT WORK.
^ITS ORIGIN AND PROGRESS. CONCLUSION.

After ages of neglect and decay, the ancient
literature of Ireland seems destined to emerge from
obscurity. Those memorials which have hitherto
lain so long unexplored, now appear to awaken the
attention of the learned and the curiosity of the
public ; and thus, the literary remains of a people
once so distinguished in the annals of learning,
may be rescued from the oblivion to which they
have been so undeservedly consigned. That the
ancient Irish possessed ample stores in their native
language, capable of captivating the fancy, enlarging

U INTRODUCTION.

the understanding, and improving the heart, is well
known to those acquainted with the mouldering
memhranes which have survived to our times.
The historical importance of our annals has been
acknowledged by the most learned men of Europe
for the last three centuries. They are written in
the language of the first inhabitants of Europe ; and,
with a simplicity of detail which truth only can
confer, they record the primaeval state of this island,
the origin of its early inhabitants, their history, re-
ligion, and laws, and the arts known amongst them
for several generations. Former writers have brought
discredit on our history by injudiciously blending
with it the fictions of romance; and succeeding
authors, unable or unwilling to separate the truth
firom the fable, became contented copyists, and thus
encreased the evil which they pretended to remedy.
Eager for temporary applause, which they mistook
for permanent fame, they forced on the world their
crude essays, which were remarkable only for dis-
tortion of fact and boldness of conjecture. The
original documents, which would have guided them
to truth, were wholly neglected, or but partially ex-
plored. Hence, the imperfect state of our early
history, and the erroneous opinions entertained of it
by many, even of the learned, at the present day.
The diflBculty of procuring the documents alluded
to, and the still greater difficulty of deciphering
them when procured, may be alleged as an excuse

INTRODUCTION. ID

for the indolence, or ignorance, of which our country-
men have reason to complain in the generality of
their historical writers. But this is a plea that
cannot be admitted. Those chroniclers of error
ought to have rendered themselves competent, or
have remained for ever silent. What is true of
the past will apply equally to the future. Until
the 'difficulties alluded to shall be overcome, all
attempts to illustrate, with certainty or authority,
the earlier parts of our history must prove abortive.
— Having judged it necessary to make the few fore-
going observations on the most important use to be
made of those neglected muniments, it now remains
to ascertain what information they afibrd on the
subject at present under consideration — the ancient
poetry of Ireland.

That this country, from an early period, was
famous for the cultivation of the kindred arts of
poetry and music, stands universally admitted. The
works of the prejudiced Cambrensis, and the annals
of Wales and Scotland, might be adduced in evi-
dence of the fact; but we require not the aid of
foreign proof, our domestic records supply abun-
dant information on the subject. Although most of
the records of the days of paganism were destroyed
by the zeal of the first Christian Missionaries, and
much of what then escaped, with many of later
times, met with a similar fate from the barbarity of
the Danes, and the destructive policy of the English,

a2

IV INTRODUCTION.

yet sufficient remains to enable us to trace those arts
to a remote period in Ireland. The early settlers,
afterwards distinguished by the name of Milesians,
derived their origin from that part of the earth,
where poetry and music appear coeval with the
formation of society. Accordingly we find the poet
and musician numbered in the train of these cele-
brated invaders. The bards Ambrgin, the son of their
leader, and Lugad, the son of Ith, are particularly
named. The latter is called, in old writings, *' The
first poet of Ireland/' Ceb Ui& h-Cp., and there still
remain, after a lapse of nearly three thousand years,
fragments of these ancient bards, some of which will
be found included in the following pages, with proofs
of their authenticity*. After these, but anterior to
the Christian era, flourished Rotne File, or the poetic.

* VoL IL p. 347, et teq. These ancient fragments are pre-
served in the old historical Record, entitled Leabhar Gkab-
haltus, or the " Book of Invasions;" a copy of which,
Iranscribed in the twelfth century, and now in the Dake of
Buckingham's library at Stowe, is particularly described in the
late Doctor O'Conor's invaluable Catalogue of the MSS.
there preserved. This learned man observes, '^ that yre should
refer this species of poetry to a very remote age, no one who
has read Strabo will wonder. The Hiberni derive their
origin from the Iberi; and Strabo mentions a people of Iberia
and BoBtica, who could produce poems nearly 6000 years old.
(Lib. Srd). Let, however, the specimens of Irish poetry still
remaining speak for themselves. The oldest Saxon poetry
extant is King Alfred's."— Ol^ Stawe, 1. 23.—

INTRODUCTION. V

and Ferceirtne^ a bard and herald ; some of whose
remains will also be found with the foregoing^
LuGAR and Congal lived about the birth of Our
Redeemer, and many of their verses, particularly
those of the latter, are still extant*. The subjects and
language of these insular poems afford internal
evidence of an antiquity transcending that of any
literary monument in the modem languages of
Europe.

In that remote period the cultivation of music
kept pace with the progress of poetry. The Dinn
Seanchasf, compiled by Amergin Mac Amalgaid,
A. D. 544, relates that in the time of Geide, monarch
of Ireland, a. m. 3143, '^ the people deemed each
others voices sweeter than the warblings of a melo-
dious harp, such peace and concord reigned among
them, that no music could delight them more than
the sound of each others voice: Temur (Tar ah)

* In numerous old vellum MSS. — To these may be added
Adhna, and Nbide liis son, who flourished about the same
time, fragments of whose writings, in the Bear la Feine, or
Pfioenician dialect of the Irish, are extant in the MSS, of
Trinity College, Dublin.

t Or " History of noted places in Ireland." This curious
piece of ancient topography is preserved in the Books of Lecan
and BalUmote; two celebrated MSS. volumes, in folio vellum,
containing transcripts of numerous miscellaneous tracts and
poems of antiquity. The former of these was carried to France
by James II. and after his death, lodged in the Irish college at
Paris, where it remained until the year 1787, when it was

Vi . INTRODUCTION.

ivas 80 called from its celebrity for melody^ aboYe
the palaces of the world. Tea, or Te, signifying
melody or sweet music, and mur, a wall. Te-miir,
the wall of music*." In the same ancient tract, music
is again alluded to, in the relation of a youthful
dream or vision of Cahiremore, monarch of Ireland,
which, amongst other things, describes, " a delight-
ful hill, surpassing all others in height, whereon
stood hosts ; and there grew a most beautiful and
stately tree, like gold, whose variegated and lux-
uriant foliage, when moved by the wind, yielded the
most melodious music ever heard, and on it grew
delicious fruit, pleasing to every one's taste f."

restored to thb country by Doctor 0'Kelly» superior of that
college, and deposited in the library of the Royal Irish
Academy, Dublin. The Book of Balhmote, also said to have
been brought from Paris, was presented to the same library.
By an entry at fo. 180, of the latter, it appears that it was
purchased in 1522, by Hugh O'Donnell, from Mc Donogh of
Corran, for 140 milch cows. None of the contents of these
volumes have been published. The Dinn Seanchas contains
poems of Fin IN Mac Luchna, a bard of the second century ,
FioNN Mac Cubhail and Fbrous Fionnbbll, who,
with the celebrated OisiN,(OssiAN,) lived in the third cen-
tury, and others.

* Book of BaUimote.~-Z^emu}[i Wn ol 7lTn<^iii3en, &c. —
Seefo. 188, a. coL 1.

t " Cnoe oebinb cy^ civb biblinb<^ibh <^i|i6e 3<^c cul^is
CO xlo3<^ib <^nb bill ebjiocc <^ni<^il op ^pn cnue co|Tii<^b
comulu <^ji<^ <^ipbi 3<^c ceol m^ buillib bjiec z^^y <^oifia in
c<^U^in in c<^n n^ inben\6 3<^oc tio3<^ co|t<^i& bo 3<^c <^en."—
Id.fo. 198, coL b.

INTRODUCTION- VU

The royal druid Bree, thus interpreted the dream :
'^ You are the tree who shall rise high to the
sovereignty, over all the nation ; the wind blowing
on the leaves, and producing harmony, is the sweet-
ness of your words in giving laws and ordinances to
the people ; and the fruit you saw, are the many
blessings that shall come on your subjects in your
reign," The first of these extracts contains the
earliest allusion to the harp* which I have met

* Mr. GuDDy in his interesting inquiry respecting the per-
formance of the harp in the Highlands of Scotland, until it was
discontinued about 1734, 4to, Edinburgh, 1807, says — " I have
been favored with a copy of an ancient Gaelic poem, together
with* the music to which it is still sung in the Highlands, in
which the poet personifies and addresses a very old harp, by
asking what had become of its former lustre ? The harp replies,
that it had belonged to a King of Ireland, and had been pre-
sent at many a royal banquet ; that it had afterwards been suc-
cessively in the possession of Dargo, son of the druid of Baal —
of Gaul— of Filan — of Oscar — of O'Duivne— of Diarmid — of
a Physician— of a Bard — and lastly, of a Priest, who in a
secluded corner was meditating on a white book." — This, like
every other research connected with the natives of the High*
lands, leads to their Irish origin. It has faded from the recol-
lection of most of our countrymen, that until a late period,
Ireland was the school of the Highland Scotch. ** The gentle-
men of note probably were, partly at leoit,^^ (these words in
italics the lawyers would call guarded or unwilling evidence,)
** educated in Ireland, to which country aU who adopted either
poetry or nauic as a profession, were uniformly sent to finish
their education, tUl toUhin the memory ofpersoM $iiU Uving/' —
Jamieson's Introductiion to Lettenfrom the North of Scotland,

VIU INTRODUCTION.

with, though it is frequently mentioned in Irish
poems ascrihed to Columba, and others of the sixth
century*. It is considered needless to multiply ex-
tracts, to shew the early knowledge and progress of
music in Ireland. Proved to have existed as far back
as the most ancient annals extend, its origin, like
that of our round towers^ must be sought for in the
Eastf.

London, 1822. This writer further adds, ''Till within the
memory of persons still living, the School for ERghland poeiry
and tntuie was Ireland, and thither professional men were sent
to be accomplished in those arts. The emit, clarsach, or harp,
was the proper instrument of the Celts. The bagpipe was in-
troduced by the Goths, from Scandinavia." — Same work, VoL
IL 65. — ^Tbese are uijvp&Iatable truths for the advocates of
Scotland's pretensions to Ossian.

* Quoted by the Irish annalists Tigern ach and the Four
Masters. — See Doctor O'Conor's splendid edition of the
principal Irish annals to the time of the English Invasion,
printed at the eiLpence of his Grace the Duke of Buckingham
and Chandos, 4 voU. quarto^ 1813 — 26.

t The native strains of several oriental nations have been
observed to bear a close affinity to Irish music. Many have
been found in Persia, and the mountainous parts of India.
Marsden, in his jBTis^ory of Sumatra, ^ys, '' TheSumatran tunes
much resemble to my ear those of the native Irish, and have
usually like them a flat third." Our countryman. Sir William
Ousely, observes, that several of the Hindoo melodies possess
the native simplicity of the Scotch and Irish. — Oriental Col-
lections, VoL I p, 74. — Many of the Siamese melodies, remark-
able for softness, sweetness, and simplicity, resemble the Scotch
and Irish.— CVaio/brd. — Mr. Thompson in his preface to the
select melodies of Scotland, (in which, by the way, he has

INTRODUCTION. IX

The music of Ireland is better known to the world,
at the present day, than its poetry. In the sweet-

embodied many Irish ain,) obsenres that, '* Melodies of the
Scottish cast have been remarked among the Moors in Barbary,
and the natiyes of North America." He might have added the
West India islands, for thither did Oliver Cromwell and his
myrmidons, — they to whom Ireland was parcelled out under the
memorable Act of SeitUment, — cause thousands of the native
Irish to be transported and sold as slaves. These unfortunate
people brought with them their language and music, of which
vestiges remain to the present day.

Ireland gave its music to Scotland, and thence it may be
traced in the modem history of the art, imparting its beauties
and sweetness to Italy. According to the poet Tassoni, the
ancient music of the Scotch or Irish, and particularly the com-
positions of the first James of Scotland, was imitated by
Gesualdos, the chief of the Italian composers, and greatest
musical improver of the sixteenth century. The celebrated
Geminiani frequently declared that the works of Gesualdus
were his first and principal study. Hence probably his acknow-
ledged partiality for Irish music, and his well known admira-
tion of the bard, Carolan. Our countryman. Goldsmith,
alludes to Uie opinion of Geminiani ** that we have in the do-
minions of Great Britain no original music except the Irish."
— See British Mag. 1780. -- It is amusing to see how our Scot-
tish neighbours invariably treat this subject. Among others,
Mr. Tytler in his dissertation on Scottish music, (Trans. Soc.
Antiq. ofScotiand, VoL L 475.) after noticing the imitations of
James I. by Gesualdus, exclaims, '' How perfectly character-
istic this of the pathetic strains of the old Scottish Songs !
what an illustrious testimony to their excellency !" But, quoting
the following passage irom Major, *' In Cithara Hibemenses aut
Silvestres Scoti^ qui in ilia arte pnecipui sunt," he says, ** To
these Sylvan roinistrels, I imagine we are indebted for many

X INTRODUCTION.

est strains of natural feeling, the former found its
ready way to every heart, and became endenizened
in every clime, while the latter, wrapped in an an-
cient and expressive but proscribed and insulated
language, has been generally neglected, particularly
since the spread of the English tongue amongst us,
and the downfall of the Milesians. Men there
were, no doubt, who, knowing and valuing its
beauties, have protected and cherished it amidst
every vicissitude, as a precious depository of the
genius of former times. But these generations have
passed away. The few who inherit their spirit
are gradually disappearing, and thus Irish poetry,
with all its charms, may be left to linger awhile,
and then sink into oblivion, unless rescued by the
timely interposition of those who still retain some
respect for the ancient honour of their country.

The nature and value of this venerable deposit
now remain for investigation. Some ancient bards,
anterior to the Christian era, have been already
noticed. Thence, to a recent period, a numerous
host of the principal '' sons of song,** whose names
may appear uncouth to our modem ears, will pass.

606 old songs which are more yaried in their melody , and more
regular in their compositions, as they approach nearer to modern
times." Here the ingenious investigator suppressed the word
Hibememeg altogether, because it pointed out but too clearly
the origin of these old Scottish songs.

INTRODUCTION. XI

in tedious, perhaps, but necessary review^ before the
reader. These men's works are stamped with genius
and learning, and are preserved in various records
of the highest authority. In the second century
CiOTHRUADH, the bard, addressed a poem to the
monarch Con, which is preserved in the book of
Munster*. Fingin, in the same reign^ produced a
poem, on the approaches to Tarah, preserved in the
Dinn Seanchas — Lecan, f. 239. Some fragments of
LuACHNA, another bard of that period^ and of Fergus
FioNNBELL, or tiic ^' Sweet-voiced," who lived in the
third century, are found in the same record. The
bard Oisin is here omitted, for although there appear
some poems ascribed to him in many old manu-
scripts, yet strong doubts are entertained of their
authenticity. In the fourth and fifth centuries
flourished the nervous and poetic Torna, one of
whose poems is given in the following collection;
and DuBTHACH, the son of Lugar, a bard who em-
braced the Christian faith in the time of St. Patrick.
Two curious poems of the latter, on the privileges
and duties of his order, and of the royal rights and
duties of the King of Tarah, as monarch of Ireland,
are preserved in the Leabkar na Cceart^. A hymn

* In the library of the Royal Irish Academy.

t The <' Book of Rights/' containing an account of the
rights and reyenues of the Monarch of Ireland ; and the re-
venues and subsidies of the provincial Kings. It was originally
conapiled by St. Benin, who die^ A. D. 468, and is contained

Xll INTRODUCTION.

to the Redeemer, by Dubthach, afiter his conversion*,
is found in the Felire Anguis, a poetical calendar,
compiled about the end of the eighth century, and
preserved in the Leahhar Breac, or ^^ Speckled
Book/' a valuable miscellany, now in the library of
the Royal Irish Academy. The foregoing are the
most noted Pagan bards, whose poems and rhapso-
dies have descended to our times. The names and
works of others have been .handed down ; and there
can be no doubt but that more will be brought to
light when the Irish MSS. scattered throughout
these islands, and on the continent of Europe, as
before alluded to, shall be recovered.

The introduction of Christianity gave a new and
more exalted direction to the powers of poetry.

in the books of Ballimote, fo. 147, and Lecan, fo. 184. —
This tract shews, that the Ancient Irish were goyeraed accord-
ing to some of the best and safest principles of civil liberty.
From Dubthach's poem on his own order, it appears, that,
** The learned poets and antiquaries are free from tribute, as
long as they follow their own profession. They shall be ready
to direct the kings and nobles, according to the laws ; preserve
the records of the nation, and the genealogies of families; and
instruct youth in the arts and sciences, known in the kingdom/'
Our princes, like the Arabians, always retained their bards,
musicians, and story tellers. These were the historians and
heralds of the kingdom.

* JoCELiNE, in the twelfth century, says of Dubthach,
'< Carmina quse quondam peregit in laudem falsorum deorum,
jam in usum meliorem mutans et linguam, poemata clariora
composuit in laudem omnipoleutis. — Ch. 45.

INTRODUCTION. Xlll

Among the numerous bards^ who dedicated their
talents to the praises of the Deity^ during the three
succeeding centuries^ the most distinguished are^
Feich, the bishop^ whose poem^ first published by
the learned Colgan^ is in the hands of every Irish
scholar ; Amergin^ author of the Dinn Seanchets ;
the £unous Columcille ; Dallan and Se anchan^ some
of whose minor poems are contained in this collec-
tion ; CiNFAELA, the learned^ who revised the I7rflt-
cepht, or *' Primer of the Bards/ preserved in the
book of Ballimote, and in the library of Trinity
College^ Dublin ; the celebrated Adamnan ; and
Angus^ the pious author of the Felire^ or Hierology
in verse, already mentioned. Most of these poems
a£ford internal evidence that their construction is
founded on the traditional rythmical songs of the
Pagan bards. Their metre and their jingle are
national. They follow a long established practice
well known to the bards of former times*. After

* Doctor O'Conor. — This learned antiquary refers to
the chapter^ ^* De Cron ano Poeta/' in Adamnan's valuable
life of Columba, who died A. D. 596, as decisive proof that
poetry was studied according to rules, and professed a* an art,
at that period in Ireland.-- Caf. /. 23. — ^The narrative is this :
Columba sitting with some monks on the banks of Logh Cei,
(in the present Co. Roscommon,) had some conversation with
the poet Cronan, near the mouth of the river Bas^ now Boyle,
which flows into that lake. When the poet retired, the monks
expressed their regret, that Columba had not asked him to sing

XIV INTRODUCTION.

the death of Angus, about the year 800, the incur-
sions of the Danes, for a time, silenced the Muses,
yet some famous bards flourished between that period
and the arrival of the English. In 884, died, accord-
ing to the annals of the Four Masters, Maolmura
(Miles) of Fathan, described, in the Book of Inva-
sions, 1(3 '^ a skilful and truly learned poet," whose
works are distinguished for loftiness of thought, and
strength of expression. Three valuable historical
poems, by Maolmura, are preserved in the Books of
Invasions and Lecan. Contemporary with him was
Flann, the son of Lonan, a gracefiil and elegant
writer, who is called, in the annals of the Four
Masters, the *' Virgil of Ireland." Within the next
century, we find the bards Cormacan and Keneth
0*Harti6an, whose valuable poems, particularly
those of the latter, are inserted in the Book of In-
vasions, and the Dinn Seanchas ; Mac Giolla
Caoimh, a sweet poet, one of whose elegies will be
found in this collection ; and the learned EocHir
O'Floinn, who died in 984, and whose invaluable
historical poems are preserved in the Books of Lecan,
Ballimote, and Invasions. About the beginning of
the eleventh century lived Mac Liag, (Secretary and
Biographer of the patriotic Monarch Brian, killed at

some Canticle in modulation, according to the Rules of his Art,
** Cur a nobis regrediente Cronano, aliquod, ex mdre mas Artis,
canticam non postalasti modulalibiliter decantari ?"— Z. /• c. 32.

INTRODUCTION. XT

Clontarf^ A. d. 1014,) whose pathetic poems, on the
death of his royal master, are given in the present
collection. The originals of these, and other pieces
by this bard, are contained in the Leahhar Oiris.
The learned historical poems of Cuan O'Lochan,
Flan of Bute, and Giolla Kevin, (who flourished
in this century,) preserved in the records so often
mentioned, shew that the general gloom of ignorance,
which at that time overspread the rest of Europe,
had not reached this island. The poems of the
latter bard have been published by Doctor O'Conor,
in his Rerum Hibemicarum Scriptores, vol. i., with
translations and notes, of great value to the Irish
historian. In the early part of the twelfth century
flourished O'Mulconry, the annalist and poet, who
sung of the aboriginal tribes of Ireland in sweetly
flowing verse, preserved in the Book of Lecan ; the
learned O'Cassidy, abbot of Ardbracken in Meath,
whose well known historical poem, '^ Sacred Erin !
Island of Saints,^ is printed in the work above alluded
to ; and O'Dun, chief bard to the Prince of Leinster,
who died in 1160, and whose historical poems are
preserved in the valuable volumes of Lecan, Balli-'
mote, and other ancient MSS. — Such were the
principal bards of Ireland down to the Anglo-Nor-
man invasion. Not ima^nary personages, like many,
called into fabulous existence by the zeal of some
ndghbouring nations, in asserting claims to early
civilization and literature, but men long celebrated

XVI INTRODUCTION.

in the annals of their country^ and whose works^ still
extant^ are pointed out with as much perspicuity
as the limits of these pages would allow. The nature
and character of these works are deserving of pecu-
liar attention. They do not possess any of the wild
barbarous fervor of the Scandinavian Scalds ; nor
yet the effeminate softness of the professors of the
^^ gay science/' the Troubadours and lady-hards of
the period to which we are now arrived. The sim-
plicity of expression^ and dignity of thought^ which
characterize the Greek and Roman writers of the
purest period, pervade the productions of our bards:
and, at the present day, they are particularly valuable
for the important aids which they furnish, towards
elucidating the ancient state of this early peopled
and interesting island*.

* The History of [relaod, even since the reign of Henry
II. is yet to be written, and it will so remain, until the
Anglo-Norman, or legal records of Dublin, and the " State
Papers'* of London, shall be combined with our domestic annals.
Such of the native writers as were versed in the latter, were
denied all access to the records of the pale. The privileged
English were unacquainted with the Irish accounts, and
withal so prejudiced against the country, that they neither
would, (their works are the proof,) nor could they, even if
inclined, have related the whole truth. Another, and per-
haps a more copious source of information than either, remains
to be noticed. It is well known, that from the time of the dis-
solution of monasteries, to the end of the seventeenth century,
numerous records were carried out of Ireland, by proscribed

INTRODUCTION, XVll

For two centuries after the invasion of Henry II.
the voice of the muse was but feebly heard in Ireland.
The genius of the nation withered at the approach
of slavery. The bards were few, but among them
were some of considerable eminence. The pious and
highly gifted Donogh O'Daly, abbot of Boyle, in
Roscommon, was called the Ovid of Ireland, from
the sweetness of his verse. He died in 1244, leaving
several excellent, poems, chiefly on divine subjects.

Ecclesiastics and other Trish Exiles, to various parts of Europe.
It might safely be concluded, even if there was not the best
evidence on the point, that among those records were some
of the most ancient and valuable, relating to the Country. —
The writer, having represented these facts to the Right Do*
norable the late Commissioners of Records in Ireland, sub-
mitted the propriety of their causing inquiry to be made on
the subject, by means of queries, through the office of the
Secretary for foreign affairs, to the different courts of Europe,
who might give directions to the prpper authorities, heads
of universities, colleges, monasteries, libraries, &c. to transmit
catalogues of any such documents as might be found in their
possession. The Commissioners approved of the suggestion,
and having expressed their sense of its •* great value if suc-
cessful in any of its points," were pleased on 22nd April,
1822, to order that their Secretary should teke the necessary
measures to make the proposed inquiry. - 13th Apnual Re«
port, 1823.— The writer, thereupon, drew up a statement with
references to the several places in Europe, from Denmark
to Spain, where research ought to be made ; but, though the *
then time of general peace, was rather favorable, yet he re-
grets to state that nothing further was done on the subject.
It is mentioned here wiih a hope that it may be resumed at
some future period.

b

XVtIl INTRODUCTION.

which^ even to the present day^ are familiarly re-
peated by the people in various parts of the country.
Conway, a b&rd of the O'Donnells of Tyrconnell,
about the same time, poured forth some noble efiu-
sions to celebrate the heroic actions of that powerful
sept. One of the most distinguished writers of
this period was John O'Dugan, (chief poet of O'Kelly,
Prince of Imania, in Conaught,) who died in the year
1372, and whose name and works are still remem-
bered and repeated by the people. His topographical
poem, describing the principal Irish families of
Conaught, Meath, and Ulster, at the time of the
English invasion, is particularly valuable. Not a
line of these bards has ever been printed. The
limits here prescribed preclude the possibility of par-
ticularizing the poets of the two succeeding centuries.
If they evinced less talent, let it be remembered that
they were more oppressed than their predecessors*.

* The sharpest arrows of the settlers were always directed
against the bards. Those whom they failed to subdue, they
endeavoured to corrupt. Of this we have an instance on the
patent roll, 49 Edward III. Donald 0*Moghane, an Irish
Jlffii«/r6/» (Ministrallus Hibernicus) ^' for that he, not alone,
was faithful to the king, but was also the cause of inflicting
many evils on the Irish enemies,*' obtained license to dwell in
the English quarters.>-This recreant bard was one of the very
few traitors of his Order, of which Patriotism was the motto
and ruling principle. Like Alfred, the Irish bards went amongst
the enemy, to learn their situation, strength, and intentions, which
they never failed to report to their countrymen. By a similar
roll of 13 Henry VI. we learn that the Irish Mimi (a species of

INTRODUCTION. XIX

They fell with their country ; and like the captive
Israelites^ hung their untuned harps on the willows.
Well might they exclaim^ with the royal psalmist :

Now while our harpes were hanged soe,
The men^ whose captiyea then we lay,

Did on our griefs insulting goe^
And more to grieve us thus did say :

You that of musique make such show.
Come sing us now a Sion lay ;

O no, we have nor voice nor hand.

For ftuch a song, in such a land.

But the spirit of patriotism at length aroused the
bards from their slumbers, and during the cruel

comic actors,) Cktrsaffhour$ (harpers,) TympanourM (tabourers,)
Omwtkore$ (the earliest violin players,) Kerraghen (players
at chess or tables,^ Rymours, Skeiaghes, (Raconteurs or tale-
tellersy) Bardu^ and others, contrary to the statute of Kilkenny,
went amongst the English and exercised their arts and min-
strelsies (minstreUias et artes suas,) and that they afterwards
proceeded to the Irish enemies, and led them upon the king's
Kege subjects. — Roi^Pai, — Here it may be observed that
the Irish bards do not appear to have attempted regular
dramatic composition. The mimic representation of human
actions on the stage, was forgotten amid the tragic scenes of
horror and devastation which were daily witnessed throughout
the land. The Colonial theatre in Dublin, was Englith, and
had DO connexion or sympathy with the Irish people. The
rude shows, however, exhibited in Hoggin Green, in that
city, in 1528, before the appearance of the regular drama in
England, were of mixed origin, partly imitated from ancient
Irish customs.

b 2

XX INTRODUCTION.

reign of Elizabeth, many men of genius started up
throughout Ireland, who devoted their talents to the
vindication of their suffering country. Of these, the
most considerable were Maolin oge Mac Brodin,
the most eminent poet of his time; O'Gnive of
Claneboy, who distinguished himself by several com-
positions to excite the natives against the English^
and whose spirited poem on the '^ Downfall of the
Gael** is included in this collection; Teige dall
O'HiGGiN, brother to Maolmuire, archbishop of
Tuam, whose genius was of a superior order, and
whose poems are amongst the best in our language ;
O'MuLcoNRY, whose fine poem, in the Phoenician
dialect of the Irish, addressed to the chieftain
O'RouRKE of Briefhy, is contained in this work;
and the learned and philosophic Mac Daire of
Thomond, and his gifted contemporary O'Clert of
Donegal, whose talents shine so conspicuously, as
opposite leaders, in the lomarba, or ^' Conientum of
the Bards/* about the year 1600. (See vol. ii. p. 345).
Here I close the series pf ancient bards, having
arrived at the period which may now be considered
as dividing our ancient and modern history. The
estimation in which they were at all times held by
their countrymen, may be learned from an English
writer x)f the reign of Elizabeth, the accomplished
Sir Philip Sydney, who, in his defence of poesy, tells
us that '' In Ireland their poets are held in devout
reverence." A love of poetry has always distin-

INTRODUCTION. XXI

guished our countrymen. No people have ever been
more ready, according to the injunction of the sacred
pensman, to honour such as by their skill found out
musical tunes and published verses in writing : and
if patriotism, genius, and learning, are entitled to
regard amongst mankind, no men were ever more
deserving of national honour than the ancient bards
of Ireland*.

It now remains to consider their successors to re-
cent times; and here it may be necessary to observe,
that the only poets mentioned throughout this work,
are such as wrote solely in their native language.
An enumeration of the principal of these, for the two

* The Irish princes, like the Arabians, always retained a
numerous band of bards, musicians, and story-tellers, in their
train. The bards became the historians of their deeds, and
the heralds of their families. Some of the public duties of their
Order have been already noted, from the Book of Rights,
p. xii, and the important nature of these duties prove the con-
fidence and esteem in which their professors were held. Until
the destruction of the Irish Monarchy, the inauguration poems
were solemnly sung by the royal bards, attired iu scarlet robes,
a practice which was continued to a later period on the acces-
sion of the provincial kings. A similar custom was observed
in Scotland. ^' The first coronation of the kings of Scotland,
of which we have any particular account, is that of Alexander
Ill« in 1249. On this occasion, a Highland bard, dressedan
a scarlet tunic or robe, repeated on his knees, in the gaelic
language, the genealogy of Alexander and his ancestors up
to Fergus the first king of Scotland.*'— Crunn'f Treatuemtke
Harp,

XXU INTRODUCTION.

last centuries, is given in the margin* ; and po^ns
of many of them will be found in this collection. It

* ** The art of poetry/' says the yenerable Charles O'CoDor
in his Dissertations, <' declined as the nation itself declined,
but still some eminent poets ^appeared, from time to time, but
diverted in matt imiancet from the ancient moral and political
uses, to the barren subjects of personal panegyric."' Though
our author was generally right in his opinions on Irish siibjects^
yet the foregoing cannot be received without many qualifica*
tions. Of the eminent poets, however, alluded to, the follow-
ing are particulariy to be noticed, since the days of Elizabeth.
— Fbroal And JBqoan Mac an Bhaird, (Ward,) two
bards of Locale, who sung of the great northern septs of JVa-
gennis of Down ; Mac Stoeeny of Donegal ; O^Donnel of Tyr-
connell; and O^Neill of Tyrone. — O'HussBY, a Franciscan
friar, author of several divine poems and hymns, and some mis-
cellaneous stanzas, which are remarkable for sweetness of versi-
fication. — John Mac Walter Walsh of the mountains, in
the CO. Kilkenny, an elegiac and pastoral poet of considerable
merit. — Angus O'Daly, the ** red bard'' of C^ork, a power-
ful satyrist.— O'HussBT of Orgial, (Loath) the bard of the
Maguires of Fermanagh, a fine genius, of whom there remain
several excellent miscellaneous poems. — O'Brudar of Lime-
rick, who evinced a masterly skill in poetry, and whose muse
pathetically described the political troubles of Ireland during
the 17tb century. — Jambs Courtney of Louth, author of
several sweet elegiac and pastoral pieces, and many superior
epigrams abounding wKh wit and agreeable raillery, who died
early in the last century.— Mac Gouran of Leitrim, a witty
and humorous bard, whose poem entitled the *' Revelry of
O'Rourke," has been versified by Swift. — O'Nbachtan of
Meatli, a learned and highly gifted poet, .and miscellaneous
writer. — Eooan O'Rahellt of Kerry, a man of learning and
great natural powers, who has left many poems of superior
merit. — Patrick Lindbn of the Fews in Armagh, a sweet

nfTRODUCTIOK. xxin

has been so long fashionable to decry that persecuted
body, tbat the writer regrets it has not fallen to others

lyric poet who lived in the early part of the last century, and
whose productions display considerable genius. — The Rev.
Owen 0*Kbeffb of Cork, author of many fine poems oa
moral and patriotic subjects. — Tbiob O'Neachtam of Dub-
lin , a learned miscellaneous writer, author of a dictionary -of
his native tongue, and of several excellent poems on various
subjects. He died about the year 1744. — Colla Mac Shban,
or Johnson, of Moume in Downe, a lyric poet, and mumcian,
author of some popular songs.— Donooh Macnamara of
Waterford, an original genius, who wrote a mock Eneid in an
elegant and lively strain, and other poems of acknowledged
merit.— Hugh Mac Curtin of Clare, an Irish Lexicographer,
and anther of seyeral odes and elegies. — John Mac Don ald
sumamed Claraou, of Charleville, co. Cork, an eminent
bard, and a man of extensive learning, whose poems are among
the best in our language. — John Toombt of Limerick, a mis*^
cellaneous poet, died 1775. — Art Mac Covet of the Fews,
CO. Armagh, a lyric poet of distinction. — Andrew Maorath
a rambling disciple of Anacreon, and a good lyric poet well
known in Munster, in the last century, by the name of the
Mangaire Suoach. — Thadeus, or Teige Gaelach O'
Sullivan, another MuQster bard of talents and celebrity,
author of several excellent poems.^OwBN Rob O'Sullivan
of Kerry, an elegiac and pastoral poet. He lived until 1784.
— ^The Rev. William English of Cork, a facetious and
satirical writer, who has left several poems of exquisite humour
and originality .-^Edmund Lee of Cork, a pastoral and lyric
poet.— -Patrick O'Brien of Newgrange in Meath, author of
several odes and excellent songs.— John Collins, a poet of
the first rank, who lived to a recent period. Here this list
must terminate, space not permitting mention of even half the
bards of local celebrity throughout Ireland, during the last
century. Amongst these men were many of great natural

XXIV IKTRODUGTION.

more competent to vindicate them against the igno*
ranee and prejudice hy which they have been assailed,
particularly during the last century. But their defence^

genius, several of eicellent classical education, and some of
superior learning. They are therefore not to be classed with
the few gaelic rymers of the Highlands of Scotland, who^ have
been described by their Lowland countrymen, as <* rude and un-
educated." The bards of Ireland were men of a very different
character, but they were a proscribed and persecuted race, their
very language interdicted, and yet from those outlawed bards»
and in that denounced language, do we find specimens of poetic
talent, which would do honour to any country. Had the un-
fortunate Dermody been born a few years earlier, it is pro-
bable his name would appear only in the foregoing enumeration.
The English tongue began to spread amongst the people of his
native county, Clare, in the middle of the last century ; and
thus the talents which would have passed unnoticed, if con-
fined to the language of his fathers, were universally admired
in that of his adoption. If Robert Burns had been an
Irishman, and had lived at the period alluded to, bis noble
genius might have been displayed in the language of the
country, from the same patriotic feeling which induced him to
prefer the dialect of Scotland. But in that case what a dif-
ferent fate would have attended him. He would, no doubt,
have obtained celebrity in the district of his birth, or sojourn,
but. beyond that, it is probable his name would never be beard,
or only when enumerated with the rest of our neglected bards.
His lot, however, was ca^t among a literary people. He wrote
in a language which all Scotland understood, and he was
brought forward by men of patriotism, genius, and learning.
Thus he escaped the obscurity which would have inevitably
awaited him, had he the fate to have been an Irishman. — Let
it not be deemed presumptuous to say, that many a neglected
Irish bard possessed genius equally entitled to admiration.

INTRODUCTION. XXV

even in the humblest hands, must prove triumphant.
What was their crime ? — for, shame to humanity, in
Ireland it was deemed a crime ! — to love their country.
What brought down on them the vengeance of the
persecutor? their invincible attachment to the ancient
&ith, and to the ancient, though fallen, families of
the land. If these be crimes, then were they guilty;
if not, it is time to make reparation to the memory
of these injured men, whose learning and genius
would have been cherished and honoured, and held
in " devout reverence ** in any country under heaven
except their own. Richly did they possess those
brilliant qualities of mind, the exercise of which, in
later and comparatively better days, have placed their
more fortunate, though not more talented, country-
men Curran, Sheridan, OLeary, and others, m the
foremost ranks of mankind. But the bards were
'' mere Irish." They thought and spoke and wrote
in Irish. They were, invariably. Catholics, patriots,
and Jacobites. Even their broad Celtic surnames
they disdained to submit to the polish of Saxon re-
finement. Hence they have been erroneously con-
sidered, and by many of the educated of their country
are still considered, as rude rural rhymsters, without
any claim either to talents or learning*. So it was

^ Several of the bards named in the foregoing note, were
men of extensive learning. Of this fact, if space permitted,
many instances could be adduced ; one, however, out of justice

XXVI INTRODUCTION.

with the prince of Latin poets, when he first visited
Rome. His countrymen could not discern the noble
genius which lay hid under his rustic garb.

■ rideri possit, eo quod

Rusticius tonso tog^ defluit, et male laxus
•In pede calceus hseret. -^— ^_

: =--at iogenimii ingeos

Inculto latet hoc sub corpora.

HoR.

Bui, lest the charge of national partiality may be
alleged ftgidnst the character here given, let us hear
the description of a writer, who cannot lie under that
imputation. Doctor Parsons, an Englishman, author
of a curious antiquarian treatise, entitled the *^ Re-

to the individual cannot be omitted. — It is well known, that
the late General Vallancey obtained much literary celebrity ,
both at home and abroad, and, in fact, first acquired the repu-
tation of an Irish scholar, by the collation of Hanno, th6
Carthaginian's speech in Plautus, published Vol. ii. ChUec^
tanea, p. 310; but it is not so well known that that speech had
been collated many years before, by Teige O'Neacktan, an ex-
cellent Irish poet, and author of the extempore epigram, Vol. ii.
p. 120, of this collection. Vallancey had this collation in
O'Neachtan's ' hand-writing, in his possession ; and I am
obliged (with regret) to add, that he never acknowledged the
fact, but assumed the entire credit of the discovery to himself.
A copy of this curious collation, from which Vallancey has
materially deviated, is now before me, but is too long for in-
sertion here. The autograph copy of (yNeachtan, dated
12 August, 1741, is preserved in the library of William Monck
Mason^ Esq., Dublin.

INTRODUCTION. XXVII

mains of Japbet/' tells ns, in that work^ that about the
middle of the lai^t century he ** spent several years
of bis life, in Ireland^ and there attained to a tolera-
ble knowledge of the very ancient tongue of that
country.'' Speaking of the bards^ he says^ *^ They
repeat their poefns in a stile that, for its beauty and
fine sentiments^ has often struck me with amase-
ment ; for I hayer been many times obliged^ by many
of these natural bards^ with the repetition of as sub-
lime poems upon lovcj heroism^ hospitality, battles^
&Cm as can be ijtfoduced in any language. Homer
and Virgil have laid the ground of their noble tissue
upon the hasis of historical facts, and the Irish poets
of our times write in the very same strain. It is the
genius of the people, and their language is suscepti-
ble of it, more naturally than any other extant.
There are numbers of them capable of composing
extemporaneous eulo^ums and poems of considerable
length upon any subject, surprisingly elegant, and
fall of fine sentiments.'' Doctor Parsons, moreover,
states that he was personally acquainted with the
bards whom he has thus described, and whose names
are already given in the margin. Speaking of these
men, even James Macpherson, in his Dissertation
on the poems of Ossian, says, '' Their love sonnets,
and their elegies on the death of persons worthy
or renowned, abound with simplicity, and a wild
harmony of ^numbers. The beauty of these species
depends so much on a certain curiosa felicitas of

XXVIU INTRODUCTION.

expression in the original^ that they must appear
much to disadvantage in another language/' Lord
Byron and Sir Walter Scott have recorded their
opinions of Irish poetry in terms which may enable
us to conjecture what these distinguished men would
have thought^ could they have tasted the beauties of
our bards in their original compositions. Many of
the love sonnets and elegies alluded to by Macpher-
son will be found in the present collection, with some
notices of their authors, whose names are thus
brought to the remembrance of their countrymen,
under a hope that this humble efibrt to awaken
national attention towards these neglected sons of
genius and their works, may be pursued by others
better qualified to do justice to their memory.

For the course of education prescribed for the
bards, in ancient and modern times, the reader is
referred to the works in the margin*. The lan-
guage invariably used in their compositions, was

* Keating, and the anonymous Dissertation prefixed to
the Memoirs of Cianricarilc, Dublin, 1727. — In the early part
of the last century, periodical meetings, or *' Sessions^" of the
Munster bards were held at Charleville, and Bruree, in the
counties of Cork and Limerick, where the aspirants for poetic
celebrity, recited their productions before the assembly. They
to whem the prizes were adjudged, in the various departments
of poetic composition, were publicly crowned, and distinguished
by other marks of honour. These poetic meetings were sup-
pressed by the operation of the penal laws.

INTRODUCTION. XXIX

that of the country. To it they were attached for
many reasons^ independent of nationality. The most
learned men of Europe^ since the revival of letters^
have been loud in its praise. Usher has ranked it
among the first for richness and elegance^ and Leib-
nitz and Lluyd have left on record their opinions of
its value. The latter observes, that *' The Irish have
preserved their letters and orthography beyond all
their neighbouring nations." The ancient language
was very different from that spoken at the present
day. It was divided into several dialects, of which
the Bearla Feine, or Phcenician, was in highest
estimation, and without a knowledge of that dialect
it is impossible to understand the early poets. The
introduction of Christianity, and Latin, had not that
efiect on this primordial language^ which might be
supposed. For a long period after, it suffered no
material alteration. At length, in the sixteenth cen-
tury, our learned men began to turn their thoughts
to the subject ; and if they had hot been impeded by
the jealous interference of the English, it is probable
that it would have undergone a change similar to
that of most of the other dialects of Europe.
How far that circumstance is now to be regretted,
by one who contemplates the present, and probable
future political amalgamation of the interests of these
islands, it may be difficult to determine. From the
days of Henry VIII. the English rulers were bent
upon the total annihilation of our national language.

XXX INTRODUCTION.

but time has shewn the folly of the undertaking.
The late Bishop Heber, in his life of Bedel^ has
iitigmatized it as *' narrow and illiberal policy^ which,
thoi^h it has in part succeeded, has left a division in
the national heart, far worse than that of the tongue.**
Most grants of lands from the crown, in the reigns
of Henry and his successors to Charles I., contained
special provisoes, for the disuse of the native, and
the encouragement of the English tongue. But all
these efibrts would have proved abortive, were
it not for the fatal disasters of the seventeenth
century. Immediately before the civil war of 1641,
a momentary gleam of hope lightened over this de-
voted language. The learned antiquaries of Donegal
associated to collect and publish the remains of our
ancient literature ; but their patriotic intentions were
unhappily frustrated by the succeeding troubles, and
the language which had withstood the shock of so
many ages, at length sunk in the general wreck.
Thenceforth it was banished from the castle of the
chieftain, to the cottage of his vassal, and, from
having been the cherished and cultivated medium of
intercourse between the nobles and gentry of the
land, it became gradually limited to the use of the
uneducated poor.* No wonder, then, that it should

* Although colloquially debased, many of the original cha-
racteristics of our language remain unimpaired. Its pathetic
powers have been particularly celebrated. ** If you plead for

INTRODUCTION. XXXI

have been considered harsh and unpolished when
thus spoken^ but it was as unjust to estimate our

ycwr Hfe, plead m Irish,*' is a well known adage. But the
reyilers of the people hare not spared even their speech. Of
the speciee of abase usaally resorted to» a cmioas specimen may
be found in the prejudiced Stanihurst, (temp. Elizabeth,) who
assures his readers, that the Irish was unfit even for the prince
of darkness himself to utter, and to illustrate this, the bigotted
Saxon gravely adduced the case of a possessed person in-Rdme,
who ** spoke in every known tongue except Irish, but in that
he neither would nor could speak, because of its intolerable
harshness." This notable story is said to have made such an
impression on the witch-ridden mind of James the first of
England, that he conceived as great an antipathy to our lan-
guage, because the devil would .not ^ipeak. it, as he is known to
have had to the sight of a drawn sword. It was, however,
differently estimated by a celebrated personage of a later date,
even the renowned WiUiam Lilly» astrologer, celestial intelli-
gencer, and chamber prophet of the royal martyr, Charles the
first. That noted authority informed the world, that the Irish
language was like that spoken in heaven. ** It is very rare,
yea even in our days, for any operator or master, to have the
Angels speak articulately ; when they do speak it is like the
Irish, moch in the throat" — How is it possible while reciting
these ludicrous specimens of prejudice and imposture, to avoid
reflecting, with bitter feelings, how often the best interests of
Ireland have beoi thouf^lessly sacrificed by its rulers, to the
extremea of bigotry, rapacity, and ignorance? Even in matters
coMieeted with oar. subject, we are informed, that Queen Elisa*
beth was prevented from sending to Denmark for certain ancient
Irish records, said to be there, by the remark of one of her
council, that it would be better all such evidences of our inde-
pendence were annihilated. So late as the reign of Queen
Anne, we are told that the intention of that princess to promote
the cultivation of the Irish language, was frustrated by the

XXXU INTRODUCTION.

language by such a standard^ as it would be to judge
of the English by the jargon of Yorkshire. The
measure of its vicissitudes was not yet, however,
full. In the last century, the inquisitors of the Irish
parliament denounced it as the dialect of that phan-
tom of their political frenzy, popery. According
to a favorite mode of native reasoning, it was
resolved to reduce the poor Catholics to a state of
mental darkness, in order to convert them into
enlightened protestants. A thick cloud of ignorance
soon overspread the land ; and the language of

Duke of OrmoDd, who repeated in her presence, an unmeaning
.sentence of broad sounding words as a proof of its barbarity.
At a later period, we find an Irish Catholic, in the fervency of
his zeal, to make Ireland '* thoroughly British,'* wishing that
** the Irish language were entirely obliterated ;" and recommend-
ing that " if it were possible to pump St. George's channel dry,
and unite the two islands physically, it ought to be done, at
whatever expence.'' — Moore's History of the British RevohUion.
— On these wise projects, it need only be observed, that when
the latter shall be achieved, and not until then, may the former
be expected. What, it may be asked, is there in Ihe Irish lan-
guage to make worse men or worse subjects of those who speak
it, than are the Welch and Highlanders, whose native dialects
are cultivated and encouraged 7 Among the foremost to an-
swer in the negative,' would have been his late Majesty, George
the fourth. The warmest reception that monarch ever received
from his numerous subjects, was expressed by an Irish '< Cead
mUefailte ;" and among the best bulwarks of his throne, were
the bayonets of Ireland, pushed through the hearts of his
enemies, under the broad vowelcd Celtic cry of ** Fag a
halhghr

INTRODUCTION. XXXUl

millions ceased to be a medium of written communi-
cation. To these circumstances, perhaps, may be
attributed its preservation from the written cor-
ruptions which pervade the present Gaelic of Scot-
land. The bards of modem times were the principal
scribes in Irish*. In it they were educated ; to its
orthography and grammatical structure they care-
fully attended; and in this last stage of its eventM
history, it appears in their writings in a degree of
purity, which, considering the disadvantages under
which they laboured, is truly remarkable.

In our poems and songs, but particularly in
those exquisite old tales and romances, which for
originality of invention, and elegance of expression,
vie with the Eastern stories that have so long de-
lighted Europe, the beauties of our language are
fully displayed. In lyrical composition, which forms
so large a portion of the present collection, its supe-
riority even over the Italian, has been repeatedly
asserted. On this point, a late favorite melodist
says, ''I have in another place observed, that the
Irish was superior even to the Italian, in lyrical com-

* In 1744, Harris, the editor of Ware's Antiquities, says,
** There are no Irish types in this kingdom ;" and so it continued
for many years after. The first Irish type that found its way
to Munster, was sent in 1819, by the writer hereof to his wor-
thy friend Mr. Denis O'Flyn of Cork, an excellent Irish
scholar, who erected a small printing press in his house, for the
patriotic purpose of multiplying copies of some favorite Irish
poems, as a means for their preservation.

c

XXXIY INTRODUCTION.

position. I know a contrary opinion is held by
many, btU by very few capable of judging as to both
languages'''^ Voltaire has observed, that a people
may have a music and poetry, pleasing only to them-
selves, and yet both good. But Irish music has been
admired wherever its melting strains have been heard.
Handel, and the first-rate composers of Italy, have
been loud in its praise. If it be permitted to argue, as
Sir William Jones did on the language and music of
Persia, that the natural and affecting melodies of that
people, must have a language remarkable for its soft-
ness, and the strong accentuation of words, and for
the tenderness of the songs written in it, it would
follow, that the original songs, so long associated
with the Irish melodies, would prove equally pleasing,
if more generally known. Many of them are con-
tained in the present volumes, and they will be
found replete with the simplicity and natural feeling

* Reminiscences of Michael Kelly, London, 1826. Introduce
Hon. — ^The yeteran reminiscent again says, " General D'Alton,
who was an enthusiast about Ireland, agreed with me that the
Irish language was sweeter and better adapted for musical ac-
companiment than any other, the Italian excepted ; and it is
true, that, when a child, I have heard my father sing many
pathetic airs, in which the words resembled Italian so closely,
that if I did not know the impossibility, the impression on my
memory would be, that I had heard him sing in that language."
— Such were the opinions of a popular and scientific melodist,
who, as he says himself, was ** capable of judging as to both
kmgnagesJ' — Swift's phrase, " Proper words in proper places,''
describes Irish song.

INTRODUCTION. XXXV

which will ever posses power over the human heart.
Should these sweet original lyrics^ therefore^ attract
the attention of future melodists^ and be introduced
on the stage^ a circumstance^ not at all unlikely^
they may, when accompanied with their native
melodies, and sung by our '^ sweet singers,** prove
no mean rivals to the dearly purchased warbHngs
of Italy.

The metrical structure of ancient Irish poetry,
must be considered with reference to its musical ac-
companiments*. The voice of the bard retrenched, or
supplied, the quantity of long or short syllables, in
order to adapt them to the sound or melody. This
license required many rules to restrain it. Hence
the hundred kinds of verse mentioned by Ferceirtne
in the Uraicepht or '^ primer of the bards ;** and the
declaration of OMollcy in his prosody, that the rules

* Among the ancient Irish, the principal species of musical
composition was tennedAyANTRiRBACU,(^l&hbh^nqti)te<^ch)
It consisted of three parts. Oeaniraigkef which excited to love ;
Gdtraigke, which stimulated to Taloar and feats of arms ; and
Suantraigke, which disposed to rest and sleep. I find it de-
scribed as follows, in a manuscript of considerable antiquity. —

C|!i -poll <^ newihrnshrhioii Cfiuiafie, (e<^ihon) qti qieishe
le Tionqiuishrhiop, no le nu^^iylishchioii d^ipTeoiit, no
3<^eh ipe^fi cheoil ^^ji bich, (e<^&hon) se^^nqtoishe, (e<^ihon)
cpoish cuijie^^T c^ch chum TWS^^She ; solqw^ishe, (e^^bhon)
qioish cuipe^y ne<^ch chum 301^ ; Tu^^nqw^ishe, (e<^ihon)
qi<^i5h cuitte^i* c&ch chum cob<^lc<^. — cjioish, (e<^6hon) ceol.

c2

XXXVl INTRODUCTION.

of Irish verse were " the most difficult under the
sun/' • The latter writer describes " a popular kind
of poetry, much used in his time, called 'JlbhiK^n," or
'* sweet verse/' This he censures, as a deviation
from the ancient rules; but it seems to have been
devised as a middle course, between the strictness of
the regular metre, and the license too generally taken
by the voice of the bard. Some of our most admired
lyrical compositions are in this measure. The Oc-
tava Rima, or eight line stanza of Italy, was bor-
rowed from the Spaniards, who had it themselves
from the Troubadours and Italians, perhaps not
earlier than the end of the fifteenth century, and in
it have been composed some of our finest songs.

The borrowed term ^^ Minstrelsy" is used in the
title of this collection, only because it is familiar to
the public ear, for others more appropriate might be

* The 6Kn bipe<^ch, or " Direct metre/' was the princi-
pal measure used in ancient Irish poetry. Each stanza of four
lines, (or quartans) makes perfect sense in itself; and every line
contains seven syllables, with concord or alliteration between
the principal parts of speech. For the rules and requisites of
Irish yerse,' see O'Molloy and Haliday's grammars ; the un-
finished translation, by the latter, of Reating's Ireland, p. 200,
Dub. 1811 ; and the Transactions of the Gaelic Society, ib.
1808, p. 214, where the Scottish editors of " The post originals
of Ossian,*' are chained with ignorance of all the rules of
Irish metre. For further observations on Irish rhyme, see
O'Conor's Rerum Bib. Vol. i., and for alliteration us used by
the ancient Britons, Irish, &c. See Percy's translation of
MaUefs Northern Antiquities, vol. ii. p. 147*

INTRODUCTION. XXXvU

found in our language*. Aware of the influence of
popular song on public morals^ no verses, of even a
doubtful tendency, have been admitted into the fol-
lowing pages; if some rigid moralist may not per-
haps deem the Chansons de hoire of our favourite
bard Carolan exceptionable. It will be observed,
that in the Irish originals all contractions are re-
jected, ^' pro faciliori captu, et modo legendi addis-
cendique banc linguam." — (yMolloy. With the
same view the letter h is invariably inserted in place
of its usual representative the aspirate point. Against
this it may be urged that that letter was not
anciently written ; and, moreover, that its insertion
may create a difficulty in the way of the mere Irish
reader's acquiring its true pronunciation in English.
It is not, however, an innovation, for the first objec-
tion is proved groundless by various old manuscripts;
and even supposing the latter entitled to considera-

* The Irish muses are expressly called IX^m&ee ^05blAm<^
|:1tibhe<^ch6<^ ^-^uy ceoil. Here we find poetry and music
combined, as they generally were in the 'ple or bard. The
late Mr. Pinkerton, in a letter to Doctor Percy, 4 Sept 1794,
now before me, says, '' I must confess myself thoroughly con-
vinced that Minstrel only implied Mudcian.** On this letter the
Bishop writes, '* Pinkerton's attempt to prove Minstrels only
Musicians/' on which he refers to PutenhanCs Arte of English
Poesie, 1589, p. 9, where Minstrelsie expresses Poetry without
any reference to Music. In the English translation of Favine,
1623, Rymer aod Minstrel are synonimous. On these autho.
rities I have used the term.

XXXVIU INTRODUCTION.

tion, it was deemed more important to facilitate
the reading of the originals.

With respect to the origin and progress of the
present publication^ a few words may be necessary
for the satis&ction of the reader. It has long been
a subject of regret, with the writer, that the remains
of our national bards, of those men who, according
to James Macpherson, ^' have displayed a genius
worthy of any age or nation," should be consigned
to obscurity at home, while a neighbouring nation
derived so much literary fame from a few of those
remains, boldly claimed and published as its own.
Several societies formed among ourselves, for the
purpose of preserving our ancient literature, having
successively fedled, the task seemed abandoned to
individual exertion. This consideration induced the
writer to devote his few leisure moments to the col-
lection of some of those neglected remnants of genius,
with a hope that, at a future period, they might
be rescued from the oblivion to which they were
daily hastening. To this undertaking he adhered
with a perseverance proportioned to his idea of its
importance; and the first fruits of his humble labours
are now respectfully presented to his countrymen.

A few valued and learned friends — the Reverend
Martin Loftus, late Professor of Irish in the College
of Maynooth ; the Reverend Daniel O'Sullivan of
Bandon, who has enriched his native language with
an inimitable translation of the ** Imitation of Christ;''

INTRODUCTION. XXXIX

and the late lamented James Scurry^ author of
valuable Remarks on Irish Dictionaries^ Grammars,
&c. in the Transactions of the Royal Irish Academy,
favoured the writer, by kindly perusing most of his
selections : and every care has been taken to insure
that accuracy, which, without presumption, may be
claimed for the following originals. Their preserva-
tion being his sole object, his intention at first
extended only to their publication, with a few ex-
planatory notes. He afterwsurds considered how &r
literal English translations would be an improvement
of his plan. But the widely different idioms of both
languages ; the difficulty, or rather impossibility, of
preserving the spirit of the bards ; and the conse-
quent injury to their works and memody, proved
decisive against such a process. From a quarter,
not previously contemplated, he was, at length,
enabled to overcome the difficulty, and to present
his literal essayings in the more appropriate garb
of verse. Some literary friends of acknowledged
poetical abilities, to whom he communicated his pro-
ject, generously undertook the task. To the late
Thomas Furlong, whose name, as a poet, is already
familiar to his countrymen; Henry Grattan
CuRRAN, Esq., a youth richly endowed with the
genius of his distinguished father ; the talented friend
of his country, the Reverend William Hamilton
Drummond, D. D. ; John D* Alton, Esq., author of
the distinguished prize Essay on the History of

Xl INTRODUCTION.

Ireland, printed in the Transactions of the Royal
Irish Academy ; and Edward Lawson, Esq., whose
talents and learning are well known ; to these gen-
tlemen the writer has to record his gratefiil acknow-
ledgments, for the zeal with which they co-operated
to render this collection worthy of public acceptance.
In justice, however, to his respected friends, he
must acquit them of any participation in the prose
parts of the undertaking. For these, which were
mostly written before the late conciliatory acts, and
which, if now to be done, might, perhaps, remain for
ever so, the writer alone has to entreat indulgence.
In conclusion, he has only to add, that as his sole
object was the preservation of even so much of the
neglected poetry of his native land, he has presented
the entire to the worthy publisher, Mr. Robins ; and
sincerely hopes it may not prove an unproductive
gift to a man, whose liberal press and generous ex-
ertions in our national cause, at a late momentous
crisis, deserve well of the people of Ireland.

MEMOIR OF CAROLAN.

Anecdotes of genias have always been favorably re«
ceived by the public ; hence it is hoped, that the following
detail of the life and compositions of this favorite Irish
bard, may not be unacceptable to his countrymen. Though
not hitherto published, the particulars may be depended
upon as authentic, having been derived from the best
sources of information now extant. It was originally in-
tended, if space allowed, to introduce, under the general
title of Carolaniana, many notices of the bard and
his contemporaries, which might prove interesting, as
illustrative of some old customs peculiar to Ireland, but
these are reluctantly postponed for another opportunity,

TuRLOGH O'Carolan, the well known subject of
the present memoir, was the son of John O'Carolan*, a

* This suToame, which is geuerally used without the Irish
adjunct O, not occnrring in the Topographical poems of
O'DUGAN, or O'HuiDHRiN, or in any genealogical tables anterior
to the fifteenth century, is supposed to have been assumed after
that period by some branch of the Mae Bradyg, a considerable
clan of East Breifiiy, who were anciently called Cearbkattach, and
who inherited large possessions in that territory. The extensive

Xlii MEMOIR OF CAROLAN.

respectable descendant of an ancient tribe of East Breifny,
a district now forming part of the counties of Meath and
Westmeatb. He was bom about the year 1670^ at a place
called Newtown, near Nobber^ in the county of Meath.

tracts of Carolanstown, in the barony of Foure, co. Westmeath ;
and Carolanstown, near Kells, co. Meath, still bear the name.
In 1550, Terence O'Kerrolan, rector of Knogh, co. Meath, was
sued under Stat 28 Henry YIIL for not keeping a Parochial
School to ** teche the Eng^lish tong.^' He laconically pleaded,
that he was always ready to '' teche ;" but that no children would
come to *' lam/' In the same year, an information was exhibited
against Edward O'Kerrolan^ for that he, being of *' the Irish na-
tion de let (yKerrolanty* held that benefice, within the English
pale, contrary to Stat, 13 Hen, VL His plea was, that he pur-
chased a licence, 34 Hen. YIII. of freedom from the Irish yoke,
and that he might enjoy the English laws, priTileges, &c. In
1607, Shane, (John,) Grana (yCarrolan, '' chief of his sept,''
became bound to the King in £100 and 100 marks, for the ap-
pearance of ** certain of the Carrolans, his kinsmen." But having
been afterwards himself committed prisoner to the castle of Dub-
lin, the others, ** affrighted, omitted their appearance/' and his
recognisance became forfeited. The king, (James I.) by concor-
datum, 24 July, 1614, remitted these forfeitures, because of '* the
many acceptable services performed by the said Shane Grana, in
the late wars ; and that many of the said persons are sithence dead
and executed." These memoranda are taken from the Exchequer
rolls of these respective years. This Shane Grana is stated to
have been the grandfather of John, the father of the bard. His
descendants were utterly deprived during the civil wars. Patrick
Carolan, the bard's paternal uncle, appears, however, in 1691, to
have possessed the lands of Muff, 300 acres, in Nobber parish,
forfeited by Lord Gormanston, for adhering to Jambs II., and
Neale Carolan, his second cousin, was, at the same time, in pos-
session of the lands of Rabranmoone, 325 acres, in Stackallen
parish, forfeited by Lord Slane.— iZe^tcnu of Forfeiiuresy Ex-
chequer. The bard's father appears to have been totally stripped
at this period. Numerous families of the name still reside in the
districts here mentioned ; and among them are many respectable
householders and farmers.

MEMOIR OF CAROLAN. xIlU

Thoagb gifted with a nataral genius for music and poetry,
he evmced no precocious disposition for either. He became
a minstrd by accident, and continued it more through
choice than necessity. '' He was above playing for hire/'
says his friend^ the venerable Charles O'Conor; who
always respected him as one of those reduced Irish gen-
tlemen, who were plundered of their birthright, during the
troubles of the seventeenth century. He was not, there-
fore, one who could be humiliated by adopting the *^ idle
trade." Respectably descended, he possessed no small
portioB of old Milesian pride, and entertaining a due sense
of his additional claims as a man of genius, he always ex-
pected, and inrariably recdved, that attention to which, in
every point of view, he was so eminently entitled. At
the houses where he visited, he was welcomed more as a
friend than as an itinerant minstrel. His visits were re-
garded as favors conferred, and his departure never failed
to occasion regret. He lived happy and respected ; and
under one of the greatest privations incident to humanity,
this amiable and ingenious individual has shewn that true
genius, properly directed, is able to triumph over difficulties,
under which ordinary minds generally sink in despair.

But to return to our narrative. Carolan's father, with
thousands of his countrymen, was reduced to a state of
poverty, while the revolutionary puritans of England rioted
through the plundered domains of their ancestors. Obliged
to emigrate from his native spot, and aided by the friend-
ship and advice of his countrywoman Lady St. George, he
bid adieu to Meath, and settled at Carrickonshannon, in the
county of Leitrim. This lady died soon after, but the
ancient and respectable family, of M'Dermott Roe, then
resident at Alderford, in the county of Roscommon, made
ample amends for her loss. Our bard, who had by this

Xliv MEMOIR OF CAROLAN.

time become a comely and interesting boy, of a mild
and obliging disposition, attracted the attention of Mrs.
M^Dermott. He soon became a favorite with that lady, and
a frequent visitor at Alderford Hoase; she had him in-
stmcted with her own children. He learned to read his
native language, which, at that time, was universally
taught. He also made some proficiency in English, and
shewed an inclination for history. These particulars, and
others which follow, were given by an intelligent old man
of the name of Early, whose father lived for many years,
during Carolan's time, at Alderford. To this respected
family our bard was attached through life, by the tenderest
ties of gratitude and affection. They were his earliest
friends and patrons. With them he chiefly lived ; under
their hospitable roof he breathed his last, nor was he sepa-
rated from them in death, for his ashes mingle with theirs
in their ancient burial-place in the church of Kilronan.
For them were composed some of his sweetest strains.
The delightful tunes of '' M'DermoU Roe;" ^< Mrs.
M'DermottRoe;'' ** Anna M' Dennett Roe;" and '*Mr.
Edmond M'Dermott Roe," prove how earnestly he exerted
his musical talents in their praise.

About this period, our youth became acquainted with
the distinguished Irish family of Belanagare, in the county
of Roscommon; and commenced an intimacy, which ended
only in death. Old Denis O'Conor, before the restoration
of part of his ancient inheritance, by the Court of Claims,
was obliged to quit the residence of his ancestors, and re-
move to a farm at Knockmore, near Ballyfamon. Here
this venerable descendant of Ireland's ancient kings, him-
self handled the plough, and inculcated maxims of humility
and moderation to his family ; observing, that although he
was the son of a gentleman, they were to consider them-

MEMOIR OF CAROLAN. xlv

selves but as the children of a ploaghman*. This' good
man sympathized with the exiled family from Meath.
They resided in his immediate neighboarhood. He con-
sidered them as fellow sufferers^ and shewed them many
acts of kindness. To oar ingenious youth he became par-
ticularly attached, and furnished him with books of instruc-
tion. But the time had now arrived which was to terminate
poor Cardan's book studies, and fix his destination for life.
In his eighteenth year he was seized by the small-pox, and
totally deprived of sight In this melancholy state of pri-
vation the afiSicted youth expressed a desire to learn the
harp. His kind friend, Mrs. M'Dermott, procured a
harper to instruct him, under whom he soon made pro-

* Incnlcations of this nature were usaal among the despoiled
families of Ireland, at and after the period above alluded to. Of
this, the following humorous instance has been handed down : —
Daniel Byrne, well known in Dublin, in the seventeenth century,
by the name of ** Daniel the tailor," was the son of a forfeiting^
gentleman, who resided at Ballintlea, near Red Cross, co. Wick-
low. Daniel was bred to the clothiering trade; and, having
contracted for clothing the Irish parliamentary forces, under
Cromwell, he made a considerable fortune. His son, Gregory,
(whose descendants took the name of Leicester,) was created an
English baronet in 1660. Soon after, as both were walking in
Dublin, Sir Gregory said, " Father, you ought to walk to the left
of me, I being a knight, and you but a private individual.'^ Daniel
answered, ** No, you puppy, I haye the precedency in three ways:
first, I am your senior; secondly, I am your father; and thirdly, I
am the son of a gentleman, and you are but the son of a poor lousy
tailor." Of Darnel's wit, the following, among other instances,
is related: William Dawson, of Portarlington, ancestor of one of
our present noble families, one morning pressing him to a dram as
they were going to hunt, said, ** Take it off, Daniel, it is but a
ikiwdfU full." " Yes, Willy," said the other, " I would take it,
if it were a hopper full ;" thus reminding the Squire of his own
old occupation, which was that of a miller.

Xlvi MEMOIR OF CAROLAN.

fioieriby. Having finaUy detennined to adopt it as a pro-
fession^ his benefactress provided him with a horse and an
attendant* In his twenty-second year he beg^n his avoca-
tion, by visiting the hoases of the surrounding gentry; and
thus humbly commenced the career of one of the most
celebrated of the modern bards of Ireland.

Among those places which he first visited, was Lei-
terfian, the ancient seat of the Reynolds or Mac Ranald
family, situate near Lough Scar, a beautiful lake in the
county of Leitrim. The then proprietor, George Reynolds^
Esq., was the direct representative of the chiefs of that
once powerful sept, whose sway extended over the territc»7
of Muintir Eolais, comprehending the present baronies of
Leitrim, Mohill, and Carrigallen, in the north-east part of
that county*. Here our youthful bard was welcomed
with characteristic hospitality. Mr. Reynolds was fund
of poetry, and had, himself, produced some pieces in his
native language. Having asked Carolan whether be had
ever attempted verse, and being answered in the negative,

* The last male descendant of the Mac Ranald family was the
late George Nugent Reynolds, Esq. of Letterfian, so jastly cele-
brated for his wit, talents, and patriotism. The remains of the
extensive patrimony of this ancient and respectable family is now
enjoyed by his sister, Mary, the widow of the late Colonel Peyton,
at present married to Major M'Naraara of the county of Clare,
descended from one of the oldest families of that county, and one
of its present representatives in parliament. Mrs. M'Namara is
nearly related to his Grace the Duke of Buckingham and Chandos.
The estate of Letterfian, being in fee, will no longer be possessed
by a person of the name of Reynolds. It will descend to the son
of Mrs. M'Namara, by Colonel Peyton, a young gentleman every
way qualified to represent, and worthy to enjoy, the Mae Ranald
property. For his great grandfather, Toby Peyton, Carolan com-
posed a well known '* Planxty," given in this collection.

MEMOIR OF CAROLAN. xlvii

he hnmoroQsly observed^ in tbe Irish idiom, '' Perhaps,
Carolan, yoa might make a better hand of your tongue than
of ^oar fingers.** He then told him that a great battle had
been recently fonght between the '• Gentry," or •< Fairies,"
of Sigh-beg and Sigh-mor, (two hills in the neighbonrhood,)
and proposed it as a fit subject to try his mnse npon*.

* Letterfian Hoiise is sitaate in a pleasant yalley, extending^
a considerable distance from south-west to north-east In front of
the hoase, and near to it, is a range of hills, extending nearly two
miles towards Lough-Scar. Upon the highest part of this range,
OTcr Letterfian, is one of these ancient conical heaps of stones
and earth, called motes or rathes, so common in Ireland, and which
the popular voice says are inhabited by the Daoine Maiike, the
" Good people," or '* Gentry," for the country folk will not call
them Fairies. This mote is called Sigh-heg, Westward of the
house, and also near it, is a small lake ; and at a distance appears
the lofty hill or mountain of Sigk-mor, which presents an abrupt
precipitous termination. On the highest brow of this precipice is
another mote, called Sigh-moTf which the neigbouring Seanachies
affirm is also thickly inhabited by another colony of* Good people."
This mote, and the mountain on which it stands, are much cele-
brated in the popular poems and songs of Ireland. Tradition
relates, that in ancient times a great battle was fought in the space
between these hills, in which the celebrated Fionn Mae CuhhaUf
and his Fionna Erionn, were defeated. One of Fionn's heroes,
who was killed in the engagement, is said to lie entombed in Siph-
heg ; and a champion of the opposite party had his remains de-
posited in the centre of Sigh-mor, Some insist that it was oyer
the body of Fionn himself the mote on Sigh-beg was erected.
Under this idea, George Reynolds, Carolan's friend, caused an
immense pile of lime and stones to be raised, in the figure of a
man, which he called Fionn Mac Cubhail. This pile remained,
for seyeral years, a conspicuous object to the surrounding country ;
but it was, at length, prostrated by a storm. It was afterwards
repaired by a gentleman, who had fallen into possession of that
part of the estate ; but it did not long resist the weather. Another
storm laid it in ruins, and so it has remained ever since, and so it
is likely to continue. For the people of the country assert, and

Xlviii MEMOIR OF CAROLAN.

The poetic feeling, which bad so long lain dormant, was
at once awakened ; and the great British poet never set
abont his '* Paradise Regained" with more ardour, than
did our Irish bard to describe this Fairy battle. Mr.
Reynolds left home for a few days. When he re-
tamed, Carolan played and song for him the words and
music of his celebrated '' Fairy Queens." His generous
friend, delighted at so unexpected a proof of the bard's
genius, on the spot predicted his future celebrity; and,
among other favors, presented him, when departing, with
a horse for his attendant. This composition, which begins,
" lm|ie<^|'^n moit ch^imc eibip ri<^ jlishche," presents a
romantic and pleasing picture of Fairy strife; but it is
chiefly remarkable as the first poetical production of
Carolan. Soon after this he composed his well known
*^ Planxty Reynolds," for his friend ; whose first cousin,
Gracey Nugent, he also commemorated in the fine song
which bears her name, and which is contained in the present
collection.

firmly believe, that the storms by which it was overthrown were
raised by the *' Good people" of the mote, and that it was only in
compliment to Mr. Reynolds, who was " one of the old stock,"
that these aerial beings suffered the building to stand so long after
its first erection. Bat when it was rebuilt, they, having no respect
for the then proprietor, soon raised the storm by which it was
again prostrated.

It is farther related, that after the battle already mentioned, a
long continued warfare was kept up between the aerial inhabitants
of Sigh-leg and Sigh-mor. The queens of these Sighhrugha, or
Fairy palaces, espoused the cause of the different parties, whose
chiefs were interred in their respective quarters ; and when the
mortal combatants ceased to fight, the quarrel was perpetuated by
many bitter engagements between their immortal allies. One of
these conflicts was that proposed by Mr. Reynolds, as a fit subject
to exercise the muse of Carolan.

MEMOIR OP CAROLAN. xlix

To those acquainted with the popular opinions of the
Irish, it will not appear strange that cor bard, like the old
Scottish poet, Thomas of Ercildonne, or the Rhymer, was
supposed, in' his youth, to have held communication with
the ** good people/' Near his father's house was a mote
or rath, in the interior of which, one of their queens was
reputed to have held her court. This mote was the scene
of many a boyish pastime, with his youthful companions ;
and after he became blind, he used to prevail on some of
his family, or neighbours, to lead him to it« Here he was
accustomed to remain for hours together, sometimes stretched
listlessly before the sun. He was often observed to start
up suddenly, as if in a fit of ecstacy, occasioned, as was
firmly believed, by the preternatural sights which he wit-
nessed. It happened, in one of these raptures, that he
called hastily on his companions to lead him home. He
immediately sat to his harp. His fingers wandered con-
fusedly over the strings ; and, in a little time, he played
and sung the air and words of his sweet song, ** 21 1)h|ii5hi6
bheuT<^ch if buic ^n bb^itfe," addressed to Bridget Cruise,
the object of his earliest and tenderest attachment*.

* For Bridget Cruise, Carolan composed seyeral songs ; and of
these, perhaps the best is given in this volume, p. 14. The
following is an anonymous translation of a few sweet Irish stanzas,
addressed, in her name, to the bard.

AiR*-T«iufer and plaintive.

O ! tempt not my feet from the straight path of duty,

Love lights a meteor but to betray !
And soon would'st thou tire of the odourless beauty

If grew not esteem upon passion's decay.
Then cease thee ! ah cease thee, to urge and to plain I
I may not, I cannot, thy suit is in vain ;
For filial affections a daughter restrain,

And worthless were she who had slighted their sw^.
. d

I MEMOIR OF CAROLAN.

Some «ay that this was his first prodaction. At ail events,
it proved so unexpected, and so captivating, that it was
confidently attributed to nothing less than fairy inspiration.
To this day, the country people point out the spot from
which he desired to be led home. They gravely state that
he once related the vision which he then beheld, but was
so oveisome with terror, that he entreated of his friends
not to questicm him further on the subject; and that he
eould never again be prevailed upon to repeat what be had
witnessed. Fear and superstition are ever ingenious to
deceive themselves. Carolan's silence became confirmatory
proof. He took no trouble to correct the popular reports ;
and, perhaps, he was not wholly uninfiuenced by vanity in
suffering them to remain uncontradicted.

Some of his earliest efforts were called forth in praise of

how could'st thou trust for connubial affection
The bosom untrue to its earliest ties ?

Or where were thy bliss when on sad recollection

I*d sink self-condemned, self-abashed from thine eyes ?
Then cease thee ! ah cease thee ! 'tis fated we part !
Yet if sympathy soften the pang to thy heart,

1 will own to this hosom far dearer thou art

Than all that earth's treasure— earth's pleasure supplies.

But where am I urged by impetuous feeling !

Thy tears win the secret long hid in my breast.
Farewell ! and may time fling his balsam of healing

0*er wounds that have rankled and robbed thee of rest.
Yet lose not 1 ah lose not each lingering thought
Of her who in early affection you sought,
And whose bosom to cheer thee would sacrifice aught

But love to a parent the kindest and best.

How many domestic afflictions would be spared, if the youthful
and unsuspecting fair were more generally influenced by the
amiable sentiments expressed in the foregoing lines.

MEMOIR OF CAROLAN. U

the M'Deimott Roe family. Henry, the only son of his
friend and patroness, having married ** Nanny/' the dangh-
ter of Manas Roe O'DonneU of Cahimamartf (now West-
port) in the county of Mayo*, Carolan produced his fine
Epithalamiom, entitled, '' Anne and Henry Oge." A
trifling circumstance, connected with this composition, may
serve to convey an idea of the importance formerly attached
to these bardic effusions. Carolan, as may be seen, placed
the lady's name before that of her husband . This g^ve great
cause of umbrage, even to his kind patroness, because her
daughter-in-law's family was considered inferior to her own,
and the bard was excused, only on account of the polite-
ness which he submitted was due to the sex. The issue of
this marriage was a daughter, Eliza, who became the wife
of Robert Maguire of Tempo, Fermanagh, a most distin-
guished family of the North of Ireland. For this gentle-
man, Carolan composed his famous " Planxty Maguire ;"
Colonel Con Maguire, his brother, he celebrated in his
fine song, beginning "Cuchon^kchc mh^c bjii^inj" and
*' Bryan Mag^e," their father, was another tribute to
this ancient and noble racef.

* I have been assured, by an old Fin-Seealuighe.thaX '* O'More's
fair dang^hter,'' or <* The Hawk of Ballysfaannon," was composed
for Charles O'Donnell, the brother of *< Nanny," and not for
O'Reilly, as stated, p. 113 of this volume. This information I
find corroborated by accounts derived from the M'Dermott Roe
family.

t Tempo was the only house in the North that Carolan is said
to have risited. Daring one of these visits, Colonel Maguire con-
trived that he should be conveyed to the county of Louth, where
the blind bard, Mac Cuairt, then resided. They were broug^ht
together without their knowledge. Mac Cuairt was considered
the better poet— Carolan the better musician. After playing for

d 2

Hi MEMOIR OF CAROLAN.

Mrs. M'Dermott oontinaed to reside at Aldbrpord.
Her son Henry, soon after his marriage, built the hoase
of Grbyfibld, on another part of the estate, where he
lived, in the old hospitable style, for many years. Here
Carolan past some of the happiest days of bis life*. It is
related that whenever he wished to retire from the noise
and bnsde of company, he generally directed bis attendant
to provide him with a pipe and a chair, and to lead him to
the garden, where be used to remain, absorbed in thought,
or modulating some of those favorite pieces, which have,
ever since, been the delight of his countrymen. His pre-
sence never failed to attract vbitors to Greyfield. It hap-
pened, on one occasion, that several of the neighbouring
gentry, the Maguirbs of Tempo, O'Rourkb, Mac
CoNMBB, the NuGBNTS of Castle Nugent, and others.

some time, on their harps, Carolan exclaimed, '^ If binn, bo5,
b|ie<^5<^ch ^ xhinne<^T cu," ** Your music is soft and sweet, but
untrue/' On which the other promptly replied, ** ly niinic bo
bhibhe<^n <kn phipinne |:an Te^^jibh," " Even truth itself is
sometimes bitter/' alluding to his rival's performance, which,
though correct, was not always sweet or pleasing to the ear. The
bards soon recognized one another. On this occasion, Mac Cuairt
composed the '' Welcome," printed in this volume ; and the ex-
cellent Northern poet, Pat Linden of the Fews, in the county of
Armagh, who came up to see Carolan, wrote another pleasing
poem to oommemorate his visit to that part of Ireland.

* Orbyfield House is now occupied by Hagh O'Donnell, Esq.
the elder reprosentative of the ancient chiefs of one of the most
illustrious tribes of Ireland. This gentleman, who is particularly
addressed as *' The O'Donnell,** is the eldest male descendant,
in a direct line, from Rory, Earl of Tirconnell, brother of the cele-
brated '' Red Hugh," who, by the talents he displayed in his
struggles to emancipate his native land from the trammels of
English usurpation, in the reign of Elisabeth, proved himself one
of the most illustrious heroes that Ireland ever produced.

MEMOIR OF CAROLAN. Uil

arrived when Carolan was absent. As they expected to
meet the bard, a messenger was sent after bim to Castle-
kelly, in the county of Gralway, where he had jast composed
his fine soDg of ** Mild Mable Kelly." On his retam he
called on Mr. Kelly at Cargins, near Tolsk, in the county
of Roscommon, an old and hospitable friend, whom he
celebrated in his " Planxty Kelly." Proceeding forward,
he stopped at Mr. Stafford's, near Elphin ; and the famous
" Receipt for Drinking," or " Planxty Stafford," will long
commemorate his affectionate reception there. On his
arrival at Greyfield, he composed Mhaire an Chulfhin,
or " Fair-haired Mary," for one of the visitors, Mary,
daughter of M'Dermott, *' Prince of CJoolavin/' and wife
of Owen O'Ronrke, who lived on the banks of Lough
Allen, in Leitrim*. The compositions here enumerated,
have been always reckoned amongst the happiest of his
effusions.

Carolan imitated the Troubadours, without knowing that
be did so ; and, perhaps, like them, too, '< feigned or fan-
cied himself in love." His amatory verses are numerous.
Some will be found in the following pages, and on them
we may safely rest his claims as a poet. Although his
knowledge of English was imperfect, he once ventured on
a few verses to his own fine air the ** Devotion," composed
for a Miss Fetberstone. This was an act of poetic gal-
lantry, as the young lady did not understand Irish. These
verses, though " in bad English," are subjoined, as a literary
curiosity^ from an old transcript They are sufficiently

* A person lately remonstrating with a descendant of this gentle-
man, on his extravagance, amongst other things told him that he
** oaght to have sense ;'* '* Sense,*' replied the indignant Milesian,
" know, that an O'Rourke scorns to have sense."

liv MEMOIR OF CAROLAN.

ludicrous, but claim the indnlgettce of the modem reader,
as the production of a blind Irish bard, in the seventeenth
century, and in a language foreign to him. Perhaps other
foreigners, who attempted English composition, have not
succeeded much better*.

* On a fair Suoday momiDg devoted to he.
Attentive to a sennon that was ordered for me,
I met a fresh rose on the road hy decree^
And though mass was my notion, my devotion was she.
Welcome, fair lily white and red,
Welcome, was every word we said ;
Welcome, bright angel of noble degree,
I wish you would love, and that I were with thee ;
I pray don't /rotm at me with mouih or with eye— -
So I told the fair maiden, with heart full of glee,
Though the mass was my notion, my devotion was she.

See Voh ii. p. 411, note. — Although Carolan delivered himself but
indifferently in English, yet he did not like to be coirected for his
solecisms. Of this, a humorous instance has been handed down.
A self-sufficient gentleman of the name of O'Down, or Dunv as it
is sometimes pronounced, once objecting to his English, asked him
why he attempted a language of which he knew nothing. *' I
know a little of it," was the reply. " If so," says the other, '< can
you tell me the English for BundoonV* (a facetious Irish term for
the seat of honor,) ** Yes," said the bard, with an arch smile, " I
think the properest English for Bundoon is BiUy Dudy.*' This
repartee turned the laugh ag^nst the critic, who was ever after
honored with the unenyiable sobriquet of Svndoon Dudy.

Carolan possessed strong satirical powers, but seldom exercised
them. Inhospitality he never pardoned. Being once at the house
of a Mr. JoNiNE, or Jennings, a farmer in Mayo, where he was
sparingly supplied, he addressed his host in the following bitter
stanza, to which many would be found to respond Amen:

[/lo wh^ll^chc 30 bji&ch, <^iit ^n 3loine sp&n^, 3<^nn,

\X 30 mo nie<^T<^ r\^ pn <^n l<^inib, n^p chup ^ le<^chl^n <^n.

MEMOIR OF CAROLAN. Iv

As nsaal with most men of genias, Carolan's friends and
admirers increased with his fame. Amongst the foremost
of these was Theobald, the sixth Viscount Bourke
of Mayo, celebrated in the popular song of " Tigheama
Mhaigheo" Mr. Walker, in his Memofrs of the Irish
Bards, on the authority of Charles O'Conor, has attributed
the air of this excellent song to one Keenan, and the words
to a person of the name of Murphy. On tiiis authority,
I have been guided in the present publication; although it
is, by some, asserted that both the words and air were
composed by Carolan*. Against this, however, an argu^-
ment may be deduced from some passages not reconcileable
with the independent spirit at all times manifested by the
bard. It is certain, however, that he was a favorite with
Lord Mayo, whose ancient baronial residence, near Castie-
bar, he frequently visited. Another noble patron of our
bard was Richard, the ninth Viscount Dillon of
Castello-g ALLEN in Mayo, from whom he experienced
the kindest attentions ; and whose favors, like all others,
he gratefully repaid by music and song. For his lordship,
and family, Carolan composed three favorite pieces, known
by the titles of *' Lord Dillon," ** Lady Dillon," and

* Mr. Walker^s anonymous correspondent is circumstantial in
his denial of this. Bat his assertion that the song " had its ex-
istence perhaps long before Carolan was bom," is clearly erro-
neous. In the original, Lord Mayo's christian name is Theobald ;
his lady, Mary ; and their children, Theobald, Suibhan, i. e. Joan
or Judith, John, Betty, and Biddy, On consulting Lodge's Peerage,
it will be found that no Viscount Mayo had a lady or children of
these names, but Theobald, who was bom in 1681, (when Carolan
was but eleven years old,) and who died in 1741, two years after
the bard. This proves that the song was not composed before
Cardan's time. Mr. O'Conor's authority, however, ought, in my
opinion, to be decisive, agajnst his right to '* Tigheama Mhaigheo,**

Ivi MEMOIR OF CAROLAN.

'' Fanny Dillon." The first, celebrates the noble and ge-
neroQS actions of his lordship; the second* those of his
lady; and the last, the virtaes and acoomplishments of their
daughter, the Lady Frances, a young lady of great beauty,
and most amiable disposition. She was, subsequently,
married to her own cousin<-gennan, Charles Dillon, who
afterwards succeeded her father in his title and estates.
With these, and the other principal inhabitants of Con-
naught, Carolan passed his life, for he seldom stirred out
of that province. He was an universal favorite amongst
them; and amply has he returned their kindnesses andpar^
tiality, by celebrating the virtues, and perpetuating the
names of families and individuals, who would, otherwise,
have been consigned to oblivion. He generally gave his
tunes and songs the names of the persons for whom they
were composed*. The number of his musical pieces, to
almost all of which he composed verses, is said to have
exceeded two hundred. Several are irrecoverably lost,
and of the verses npt one-half is supposed to be remaining.
On many of these compositions, some light may be thrown
by considering them locally ; and for that purpose, it will
be necessary to accompany our bard through the several
counties of the province.

In Mayo he spent much of his time, and his unwearied

• His compositiQDS, which do not bear the names of individuals,
have generally his own prefixed, and are known by the titles of
" Carolan's Concerto,'' " Devotion," " Dream,** " Elevation,'*
** Farewell to Music," " Faiiy Queens," " Frolick," " LamenU-
tion," " Nightcap," ** Parting of Friends," " Planxty," " Port
Gordon," " Last Will and Testament," " Ramble," " Receipt,"
" Sioihchan ar TAiw," or " Peace at First," and " The Feast of
O'Rourke." Most of these are deservedly popular.

MEMOIR OF CAROLAN. Ivii

mase paid his friends there many a grateful tribute.
Besides those already mentioned, we have remaining his
'' Thomas Borke," " Isabel Burke/' and ** Planxty Burke/'
composed for a respectable family of that name near Castle-
bar; «<Mr. James Betagh/' and '' Fanny Betagb," of
Manyn ; *' John Moore/* of Bryes ; '' Mrs. Costello/>
" Mr. Costeilo/' of an old family which has given name
to a barony in this county*. Colonel Manus O'Donnell ;"
*' Counsellor Dillon/' '' Rose Dillon/' both of the noble
house (rf* Lough Glyn ; ^' Doctor Harte ;" ** George Bra-
bazon;" '< Bridget O'Malley;" ''Captain fliggins/' a
brave old soldier, well known in his day. ** Mrs. Garvey/'
of Murisk, at the foot of the Rbbc, near Westport, an
excellent old lady, for whom the bard composed two dis-
tinct tunes, both bearing her name. '' Peggy Browne/'
" Mrs, Pahner,'' " Frank Palmer/' and «• Roger Palmer,"
members of an opulent family in Tyrawly. — In the district
of Galway Carolan was but little acquainted: Long
before his time, the natives of this " English nook," lost
the old national partiality for the " charms of song," and
were thus described by an indignant bard —

" 5^illmih 3<^n 3h<^o&h<^il3, ly f e<^)tbh leo jw^n."

* Mr. Canning, late Prime Minister of England, was maternally
descended from this ancient and respectable family. His mother^s
maiden name was Costello, Her father was a yonnger brother^
who settled in Dublin early in the last centnryy and engaged in
the woollen trade. His accomplished daughter, afterwards Mrs.
Canning, and latterly Mrs. Hnnn, went on the stage ; at which,
the feudal pride of her friends, in Connaught, was so hurt, that
they never wished even to hear the circumstance mentioned. Two
of Mr. Canning's near relatives, Charles and James Costello, Esqrs.
now resident in Galway, the writer of this is proud to class among
his most Ultimate friends.

Iviii MEMOIR OF CAROLAN.

The only Galway families whom be appears to have no-
ticedy were the old Milesian stocks of O'Daly of Dansandle,
O'Kelly of Castle-Kelly^ and the Anglo-Norman baronets
of Glinsk ; for whom he composed his ** James Daly/'
" Anne Daly," " Mable KeUy/' " John Kelly/' " Patrick
Kelly/' and *' Sir TTlick Barke." — In Sligo he was more
conversant ; and to several branches there, both of English
and Irish descent, many pleasing productions of his muse
were dedicated. Amongst these, are his *' O'Conor Sligo/'
'* Edward Corcoran," '' Margaret Corcoran," '' Nanny
Cooper,'' " Charles Coote," « Sir Edward Crofton." " Mr.
James Crofton," '' Mrs. Crofton," of Longford, " Miss
Crofton/' " Edward Dodwell/' " Maud O'Dowd," " Mrs.
Fleming," " Doctor Harte," « Colonel Irwin," " Loftns
Jones/' " Planxty Jones," " Abigail Judge/' " James
Plunkett," and •' Kian O'Hara," or the " Cup of O'Hara*,"

* He composed a few verses for John Harlow, Esq. of Ramelin,
a gentleman of good fortune, and fond of amusement, who erected
a '< Sporting Lodge'' at Temple House, which, during half the
year, was resorted to by the principal gentry of the country. O'Hara,
remonstrating with the bard on this composition, said—'* Turlogh,
you did wrong to place that BuUocker Harlow on a leyel with me."
*' I did so," was the reply ; ** but that can be easily remedied."
He then supplied an additional stanza for the ^* Cup of O'Hara ;"
of which I could only obtain the following couplet :

** 'X qiu^^Sh n<^ch sU^y pl^c(^ bbi ir^^i^^e ^ mo T^Sis,
^u<^iji A chuiji me feon T)<^ploe chomh ^jib le Ci<^n 013."

This satisfied the Milesian aristocrat A description of one of
John Harlow's entertainments at Temple House, by James White,
a cotemporary poet, is described by Mr. Walker's anonymous cor-
respondent, as *' the ne plus ultra of all the subjects that the wit
of man has ever devised to excite and continue the loudest peals
of laughter." This production has, as yet, escaped our research.

MEMOIR OF CAROLAN. Hx

some of which will be found in the following collection.
Bat it was in his favorite coonty of Roscommon, that
Carolan always fonnd and felt himself most at home, and
for the natives there, particularly the old Irish, and, above
all, the ancient and princely stocks of O'Conor, and M'Der-
motty he poured forth some of his sweetest strains* Of
these, we have the various compositions before enumerated
for the M'Dermott Roe family, and abo his ** O'Conor
Faly," '* Young O'Conor Faly/* " Mrs. 0*Conor," " Mrs,
O'Conor of Belanagare,'' " Denis O^Conor," or ^* Donagha
M*Cathail oig/' (his early friend,) " Doctor O'Conor,"
•• Maurice O'Conor," " Michael O'Conor," " Planxty
Conor," ** Planxty Drury," " John Duignan," " Mrs.
French," of the respectable house of French Park, ** Ro-
bert Hawkes,'* " Nelly Plunket," and " Planxty Stafford,"
or as more generally called " Cardan's Receipt ;" all of
which are well known to the lovers of Irish song. To
conclude with Lbitrim, there remain ** Toby Peyton,"
" Bridget Peyton," *' Molly St. George," (his father's old
friend,) '^ Maire an Chulfhion," and others contained in
the subjoined Ust*. One popular song, in particular.

* To the several compositions of our bard already enumerated,
the following, produced at various times and places, are to be
added :— " Doctor Delany," " Bishop of Clogher," " Catherine
cyBrien/' '' Mary Maguire " of Fermanagh, (afterwards the bard's
wife), '^ Madam Cole/' '< Lady Iveagh," wife of Brian Magennis,
Yisconnt Iveagh, *' Captain O'Kane,'' or 0*Cahan, of a distin-
guished Antrim family, (a sporting Irishman, well known, in his
day, by the name of Slasher (yKane), ^* Lord Louth,'' Berming^
ham Baron of Athenry, ** Lord Massareene," ** Lady Massareene,''
" Madame Maxwell," '' Miss Murphy," ** John Nugent" of Co-
lamber co.Westmeath, brother to Gracey Nugent," "Mrs. Nugent,"
his lady, " Phelim cyNeiU," " Mrs. O'Neill," "Miss Eliza 0'NeUV>
" Miss Mary O'Neill," " Catherine Oolaghan," (Nolan), " David

Ix MEMOIR OF CAROLAN.

** CaikKn Tiriidl" Carolan is said to have composed for
a young lady. Miss Catheriue Tyrrell, whose father resided
near Mohill ; and whose grandneice, a Miss Byrne, is still
living near Dromsna in this county. I cannot, however,
but date this fine old song long before his time. Perhaps,
as other bards certainly did, he supplied words for the
air, which caused the latter to be attributed to him.
Many of his compositions may, doubtless, have escaped the
most minute research; but sufficient are here enumerated
to transmit his name, as a man of musical genius and a
poet, to posterity.

It would be impossible to trace our bard through all his
wanderings during a long and restless life. They were
chiefly confined to Connaught| where his friends were so
anxious for his society, that messengers were continually
in quest of him, and he was hardly seated in one place,
until he was followed by an invitation to another. Ulster
he seldom went to, and then only to the Maguires of
Tempo. The puritanical habits, and anti-Irish fedings
of the Scotch and English settlers in the North, were but
little calculated to conciliate the esteem of such a man
as Carolan. In 1720 he went to Donass, in the county of
Clare, the seat of Charles Massey, Dean of Limerick, who
was recently married to Grace, the daughter of Sir Charles

Peer or Power" of Cahirered, co. Galway, " Mrs. Peer," his lady,
« Planxty Rcilly," ** Conor O'Reilly," " My lea O'Reilly," " John
O'Reilly the Active," all of the preat Cavan family of that name,
•' Major Shanly," " Menryn Spratt," " Mrs. SterUng," « Mrs.
Waller," " Mr. Waller," " Mr. William Ward." Many curious
anecdotes, connected with these, and other productions of
Carolan, are necessarily omitted in this already lengthened
detail.

MEMOIR OF CAROLAN. 1x1

DilloD of Lismallen, in the county of MeatL Here he
was kindly entertained by his countrjrwoman ; and his
gratefnl muse celebrated the nuptials, by two pleasing
compositions, which bear the names of '' Dean Massey,"
and '' Mrs. Hassey.'' To this visit we are indebted for
the only original portrait of Carolan now extant*. From
it the engraving prefixed to this volume has been taken.
It corresponds with every description we have of the baiti.
His countenance appears open, kind natured, and intelli-
gent, though the " sovereign vital lamp" was for ever
extinguished.

While celebrating the living, Carolan did not forget the

* Dean Massey wishing to retain some memorial of a man
whose genius, and amiable manners, excited at once his admira-
tion and esteem, caused this portrait to be painted by a Dutch
artist, who was then in the neighbourhood. It continued in pos-
session of the family until the death of the late General Massey,
who prifled it so highly, that he carried it with him wherever he
went. Upon his death, in Paris, in 1780, the picture was brought
back to Ireland ; and, in 1800, was sold to the celebrated Walter
Cox, editor and publisher of the Irish Magazine. Mr. Cox having
afterwards presented it to Thomas Finn, Esq. of Carlow, that
excellent and patriotic gentleman kindly coumiunicated it to the
writer, who expressed a desire to have it engraved and preserved
ax a national relic. With that view, he caused an accurate copy
to be taken, which he presented to an ingenious Dublin artist,
Mr. Martyn, on the sole condition that it should be well engraved.
Mr. Martyn published his engraring in 1822, (of the same sise as
the original, which is painted on copper, about 8 inches by 6,) and
dedicated it to the Marqubss Wellbslby, then Lord lieutenant
of Ireland. George Petri e, Esq. of Dublin, whose acquaintance
ivith the history and antiquities of this country, is, perhaps^ only
surpassed by his knowledge of the arts of painting and sculpture,
in which he so eminentiy excels, thinks it probable that the original
portrait was painted by Vander Hagen, a distinguished Dutch
artist, who was, at that time, in Ireland.

Ixii . MEMOIR OF CAaOLAN.

dead. Some of his elegiac productions are well known,
particnlarly those on the death of his wife, and of his friend
M^Cabe* ; which have been newly translated for the pre-
sent work. In addition to these, we have his " Cumhadh/*
or Lamentation, for Owen Roe O'Neill, the celebrated
Irish general; the '' Lament/' for the famous Catholic
lawyer, Terence M'Donogh of Sligo ; and the '' Dirge on
the death of Owen O'Rourke," for whose lady he had pre-
viously composed his '* Mhaire an Chulfhin,^' These are
favorable specimens of his talent for this species of com-
position. But, as he was by nature of a gay and lively
turn, so he delighted more in that strain than in the sad
and mournfiiL The few of the latter, however, which
remain, display many genuine touches of natural feeling.
The bard composed as he felt, and his elegiac efforts are
alike creditable to his head and his heart.

But the time was now drawing nigh when Carolan was
himself to become a subject for the elegiac muse. In the
year 1787, his health, which had been long declining, gave

* The bard, M'Cabe, was the frequent companion, and humble
friend, of Carolan. He was a man of some talent, well skilled in
his native language, and had a tolerable knowledge of Greek,
Latin, and English. He played sweetly on the harp ; but as a
poet, or musician, he was, to use the words of a contemporary,
** what the titlark is to the cuckoo," when compared with his
friend. M'Cabe was a practical humourist, and many anecdotes
are related of his wit and pleasantry. He composed an Elegy on
the death of Carolan, whom he outliTcd many years. Having
obtained a license to teach, as a '^ Popish schoolmaster," he
earned a scanty subsistence in his old age, and, finally, died in
want Similar to his, was the fate of hundreds of talented Irish-
men, during the horrible period of Protestant ascendency and
persecution, men who, in any other country, or under other laws,
would have proved ornaments to society, and to human nature.

MEMOIR OF GAROLAN. Ixiii

evident symptoms of approaching dissdntion. At Tempo,
finding himself growing weak, he resoh ed to proceed to
Alderford, the honse of his old and never-fiuling firiend and
patroness, Mrs. M'Dermott, who, though then nearly in
her eightieth year, enjoyed exceOent health and spirits.
By her, in his youth, nearly fifty years before, he was sup-
plied with his first harp and his first horse ; and to her, in
the decline of life and health, he turned for a sure asylum,
and a kind and affectionate reception* Having composed
his " FareweD," to Maguire, he proceeded on horseback
to his firiend Counsellor Brady's, near Balinamore, in
Leitrim, where he rested for a few days. He then con-
tinued his journey, accompanied by several of the nrigh-
bouring gentry, and a concourse of the country people,
among whom he was always held in the highest veneration,
towards Lahire, the seat of Mr. Peyton. Here he stopped
for a few moments, and, with tears, took leave of his
firiends. During the remainder of his journey, it is not
improbable that his mind was occupied by thoughts
somewhat similar to those afterwards expressed by his
countryman. Goldsmith*: —

In all my wanderings round this world of care,
In all my grief (and God has given my share,)
I still had hopes, my long vexations past.
Here to retain, and die at home at last.

* Oliver Goldsmith was bom, and until his fifteenth year resided,
not far from where Carolan spent the greatest part of his life.
Although but ten years old at the death of the bard, it is evident
that he was well acquainted with his genius and character. This
may be deduced even from the trifling Essay on '* Carolan the
blind,'^ which appears in his works ; and which, if really written
by Goldsmith, confers no great credit on his memory. This inge-

Ixiv MEMOIR OF CAROLAN.

At Alderford he was received with the wannth and wel-
come, which have ever characterised Irish friendship. After
he had rested a little, he called for his harp. His relaxed
fingers for a while wandered feebly over the strings, bnt
soon acquiring a momentary impulse, he played his well
known ** Farewell to Music/' in a strain of tenderness and
feeling, which drew tears from the eyes of his auditory.
This was his last effort Nature was subdued ; and the
dying bard was carried in a state of exhaustion to his room.
He lingered for some time. The woman who attended
him, and who lived until about the year 1787, used to
relate, that to revive or stimulate decaying nature, he was
occasionally indulged with a t<ui€ of his favorite beverage.
Usquebaugh. His natural vivacity, and good humour,
never forsook him. A few hours before his death, while
in the act of stretching forth his hand for the cup, as he
humourously said, to give it his farewell kiss, he rolled out
of bed on the floor. The female attendant alluded to,
stated that after she had replaced him, he observed, with a
smile, " Maudy, I often heard of a person falling when
going to the field, but never knew one to fidi while lying
but myself His last moments were spent in prayer,
until he calmly breathed his last*. When his death was

nioas man was descended from one of our ** Clerical families,"
who were generally a prejudiced class ; and his historical works,
at least, proye that he never entirely laid aside the prejudices of
early education.

* Carolan's death was thus recorded by his devoted friend and
admirer, the venerable Charles O'Conor. — ** On Saturday, 2dth
March, 1738, Turlogh O'Carolan, the talented and principal
musician of Ireland, died, and was interred in Kilionan, the church
of the Dnignan family, in the 68th year of his age. May the Lord

MEMOIR OF CAROLAN. IXT

known, it is related that upwards of sixty clergyman of
different denominations, a namber of gentlemen from the
surroanding counties, and a vast concourse of country
people, assembled to pay the last mark of respect to their
favorite bard. All the houses in Ballyfamon were occu-
pied by the former, and the people erected tents in the
fields round Alderford House. The harp was heard in
every direction. The wake lasted four days. On each
side of the ball was placed a keg of whiskey, which was
replenished as often as emptied. Old Mrs. M'Dermott
herself joined the female mourners who attended, to weep,
as she expressed herself, '' Over her poor gentleman, the
head of all Irish music." On the fifth day his remains
were brought forth, and the funeral was one of the greatest
that for many years had taken place in Conaught. He was
interred in the M'Dermott Roe*s vault, in their chapel, at
the east end of the old church of Kilronan.

On opening the grave, in 1750, to receive the remains
of a Catholic clergyman, whose dying request was to be
interred with the bard, the scull of the latter was taken up.
The Hon. Thomas Dillon, brother to John, Earl of Ros-
common, caused it to be perforated a little in the forehead,
and a small piece of ribbon to be inserted, in order to dis-
tinguish it from similar disinterred remnants of mortality..
It was placed in a niche over the grave, where it long re-
mained an object of veneration, several persons having

have mercy on his soal, for he was a moral and religious man,"
—See Cat» Stow. MSS. vol. i. p. 146, for the original Irish. Doctor
O'Conor adds, *' This memorandum is in the handwriting of Caro-
lan's friend, the late Charles 0*Conor of Belanagare, who ever
spoke of him in terms which reflected back upon his own character,
the lustre which they shed on that of the last of the Irish bards."

Ixvi MEMOIR OF CAROLAN.

visited the choTDh for the sole purpose of seeing this relic
of a man, so nniversally admired for his musical talents.
At length, in the year 1796, it disappeared. A person on
horseback, and in the garb of a gentleman, but supposed
to have been a northern Orangemen, came to the church,
and desired to see it. It was brought from the niche, and,
watching his opportunity, he discharged a loaded pistol at
it, by which it was shattered to pieces*. Then, damning
all Irish papists, he rode away. Some neighbouring gen-
tlemen pursued him as far as Casbcai^, in the county of
Leitrim ; and from their excited feelings at the moment,
it was, perhaps, fortunate that he escaped. This brutal
act could be perpetrated only through the demoniac spirit
of party rage which then disgraced thb unhappy country.

Thus far I have endeavored to trace our national melo-
dist and his compositions, without reference to any former
printed accounts ; but fear that many of the particulars
detailed may be considered trifling, and possibly most of
them unimportant. They possess, at least, one quality,
and, perhaps, only one, to recommend them, which is that

* Notwithstanding this act, and although the people of Kilitman
show some fragments which they assert to be those of the scall,
yet it is confidently stated that it may be seen, perfect and entire,
in the museum at Castlecaldwell, co. Fermanagh, haring been
presented to Sir John Caldwell, by the late George Nugent
Reynolds, Esq., who took it privately from Kilronan for the pur-
pose. This, however, may be doubted. Mrs. M< Namara, the sister
of Mr. Reynolds, does not believe it, never having heard it men-
tioned in her family until lately ; and thinks it must be some other
pericranium which her brother, who was a facetious gentleman,
imposed on the connoisseur, by way of joke, for that of Carolan.
A cast of the Castlecaldwell relic is about being sent to the
Phrenologists of Edinburgh ; but, probably, the portrait prefixed
to this volume, would prove more satisfactory to those gentlemen.

MEMOIR OF CAROLAN. Ixvii

of being new to the reader. That the death of Carolan
has caused a chasm in the annals of Irish song, is a fact
which has been sensibly felt and deplored by his brother
bards in many a heart-moving lay. When we consider the
difficulties which this ingenious man bad to encounteri his
loss of sight, the consequent want of adequate education,
and, above all, the retrograde state of society in Ireland,
daring the greater part of the time which he lived, he will
be foand entitled to no small portion of praise and admira-
tion. As a musical genius, he is universally acknowledged
to rank with the foremost of modem times. His character
has been often drawn. As a poet and musician, it is well
delineated in Walker's " Memoirs of Irish Bards," by that
author^s anonymous correspondent But there are, in that
communication, some errors, particularly respecting his
moral character, which require observation. He is des-
cribed as a reckless reveller, whose genius required the
constant stimalus of inebriating liquors to rouse it to exer-
tion. Now I have been assured by old people, who knew
some of Cardan's contemporaries, that nothing coald be
more unjust or untrue than sach a representation. On this
head, the solemnly recorded evidence of Charles O'Conor,
may be considered decisive, bu |ti<^5h<^U:<^ <^5UT ^
c\iKMfech, ** He was moral and religious," says that vener-
able and virtuous man, who was long and well acquainted
with him, and whose testimony is surely preferable to any
anonymous information. It is not, however, pretended
that he was a mere water drinker. On the contrary, he
always delighted in cheerfal society, and never refused the
circling glass. Perhaps few individuals ever heightened
** the feast of reason," or enriched it with ** the flow of
soul," in a greater degree, than Carolan.

To him Ireland is indebted for upholding its ancient

e2

Ixviii MEMOIR OF CAROLAN.

character for music and poetry, and the debt yet remains
to be paid. In every part of the world his strains are
heard and admired; and our countrymen^ in foreign climes,
feel JQstly proud of their national bard. But how has be
been requited at home ? His humble grave may indeed
be traced ; but *' not a stone tells where he lies." The
indignant exclamation of Johnson is not even yet applicable
to us : —

See nations slowly wise, and meanly just.
To baried merit raise the tardy bust !

A musical commemoration of the bard was celebrated in
Dublin, in 1809. It was chiefly composed of his own
popular pieces^ and, with the impetuosity natural to Irish-
men, was held twice in the same week, but never since
repeated. His fame, however, depends not on *' piled
stones," or musical commemorations. He lives in his own
deathless strains. And we may safely predict, that as long
as the charms of melody shall hold their sway over the
human heart, so long will his countrymen remember and
revere the name of Carolan.

MEMOIR OF THOMAS FURLONG.

Since the commencement of this work the writer has
had to lament the death of an old and valued friend — the
translator of Carolan's Remains, and of other ancient
relics, which enrich these volumes. He is here induced to
lay before the reader a few particulars of the short career
of that talented individual, and to those who sympathise
over the fate of resident Irish genius, the brief and un-
pretending detail may not be wholly uninteresting. For
some of these particulars he is indebted to a tribute which
appeared soon after Mr. Furlong's death, in several period-
ical publications, from the pen of J. B. Whitty, Esq., the
popular author of ** Tales of Irish Life/'* and other

♦ These admirable pictures of Irish Society have been trans-
lated into French, and reprinted in America. The author's

IXX MEMOIR OF THOMAS FURLONG.

esteemed prodactions. This gentleman, who was long
and intimately acquainted with the poet, knew how to
appreciate his merits, and was eminently qualified to do
jastice to his memory.

This offering of disinterested friendship is prefaced with
a few pointed observations on the reproachful apathy
of Irishmen towards the encouragement of native
genius ; and the truth of the statement cannot be contro-
verted. " Scotsmen," says the ingenious writer, '* have
erected a monument to Burns, and they celebrate the
annif ersary of his birth : they differ as widely in politics
as my countrymen, but still they do justice to each other;
every man of them considers himself honored in the fame of
their literati. Alas ! the case is very different in Ireland :
they have erected no monument to their Carolan or their
Goldsmith — their Grattan or their Curran. They have no
cheering anniversary — no moral landmark, to gaide or sti-
mulate their rising genius ; all is sluggish and thoughtless
— a dead flat surface — an uninviting uniformity— a cheer-
less gloom. My heart swells with indignation at this
national apathy ; it looks like Irish ingratitude ; there is in
it an implied want of national pride — a cruel indifference
to the best of all claims — those of intellect The circum-
stances of the times cannot justify this; it exists still. If

extensive knowledge of the History and Antiquities of Ireland,
and the sound philosophic views which he has taken of its
situation and affairs, ancient and modern, render a history
of the country, on which he is now engaged, an object of
national consideration. I cannot conclude this note without
acknowledging my obligations to two intimate friends of the
deceased, Messieurs Michael Gillioan and John Fbrrall,
merdiaiits of Dublin, for their kind and interesting communis
cations respecting him.

MEMOIR OF THOMAS FURLONG. Ixxi

yoa disbelieve me, go to Oramcondra cburoh-yard, and
ask the shade of Furlong. His fate singularly illustrates
the foregoing remarks.*

" This * sleepless boy, who perished in his pride/ had
no claims to notice but those which genias furnished ; but
these were of an order which gives an immortality to his
name, despite the neglect of his countrymen. He was,
in the words of Ferguson, * one of God Almighty's no-
bility.' He derived no intelligible dignity from bis ances-
tors, but he reflects back upon them a kind of posthumous
vitality; he rescues them from the oblivion of the grave,
and bestows upon them a lustre not the less brilliant or
lasting, because it is derived from reflected rays. He owes
them nothing ; they become in death his debtors."

'* Thomas Furlong was bom in the county of Wexford,
and that noble portion of Ireland has also the honor of
of giving birth to Thomas Moore. Furlong's father was
a respectable farmer, and our poet was bom in the
year 1794, at a place called Scarawalsh, a romantic
part of the country, midway between Ferns and Enis*
corthy. His education qualified him for the counting*
house ; and, at fourteen, he was apprenticed to a respect-
able trader in the Irish metropolis. The ledger, however,
had less attraction for him than the muses ; but though he
* lisped in numbers,' he did not let his passion for poetry
interfere with his more useful and more important duties.
Through life he retained the friendship of his employer ;
and when that gentleman died, some yean ago, he la-
mented his fate in a pathetic poem, entitled The BuriaL

* It is bat justice here to state, that a handsome monument
has been recently erected by Mr. Furlong's friends to his memory.
But this, I rather fear, will be considered only as a solitary
exception to the general charge.

Ixxii MEMOIR OF THOMAS FURLONG.

This was odo of Mr. Furlong's earliest prodactioDS, and
no reader of taste will be displeased^ at findiDg here the
following impressive stanzas :

< Oh ! if the atheist's words were true,

If those we seek to save,
— SiniL — and in sinking from our Tiew

Are lost beyond the grave !
If life thns closed — ^how dark and drear
Would this bewildered earth appear.

Scarce worth the dast it gave.
A tract of black sepulchral gloom,
One yawning, ever-opening tomb.

< Blest be that strain of high belief,

More heaven-like, more sublime,
Which says, that souls that part in grief,

Part only for a time !
That far beyond this speck of pain,
Far o'er the gloomy gprave's domain.

There spreads a brighter clime.
Where care and toil, and trouble o'er.
Friends meet, and, meeting, weep no more.*

*' At length he was enabled to indulge withoat obstrac-
tion in his love of literature. Mr. Jamibson, an emi-
nent distiller of Dublin, and a man of enlarged and liberal
views, gave him a confidential situation in his extensive
concerns. Here he remained until the period of his death,
and it does honor to Furlong, as well as to his worthy
patron, that Mr. Jamieson wept like a child the day of bis
funeral."

While at school, our youthful poet produced a poem of
considerable length, in blank verse, which it appears he had
sbme intention of offering for publication: but probably
^ not wishing to trust solely to his own judgment, and per-
haps having no friend on whose opinion he could safely
rely, he adopted the prudent advice of the Roman critic,
and laid it aside for some years. At length, in 1815, our dis-
tinguished countryman, Thomas Moore, having visited

MEMOIR OF THOMAS FURLONG. Ixxili

Dablin, the young aspirant for poetic fame embraced the
opportunity. He boldly submitted his poem to the dan-
gerous ordeal of Mr. Moore's perusal, and solicited his
patronage, should he consider it worthy of publication.
That gentleman expressed his opinion of this juvenile per-
formance in the following letter: —

" I have read the poem which you did me the honor to entrast
to me, and think highly of the talent and feeling with which it is
written ; but I should deal unfairly with you, were I to promise
you much success from the publication of it. There is nothing
less popular at the present day than blank verse ; as some proof
of which, I need not perhaps tell you (for your subject and his
are somewhat similar,) that the '* Excursion" of Wordsworth,
one of our finest geniuses, lies unbought and unread on his pub-
lisher's shelves. If, however, notwithstanding this discourage-
ment. It should still be your wish to try the fate of your poem .in
London, I shall be happy to give it all the aid and recommenda-
tion in my power. '* Tour's, &c.

" Mr. Furlong, kc. ** Thomas Moore."

Notwithstanding the kind offer contained in this letter,
the idea of publication was abandoned, and it is supposed
the poem was committed to the flames. Mr. Moore's at-
testation, however, to the talent and feeling with which it
was written, seems to have stimulated the author to fresh
exertions, for he soon after produced the " MiSAN-
THROPB," a poem which was published by Colburn,
London, 1819. '* This poem," says one of the periodical
Reviewers, ** is now before me, and though of a didactic
nature^ it abounds with beauties, and shews that, even
young as the author then was, his powers of versification
were of a very superior order. His epithets are chosen
with great happiness and propriety, and his arguments are
managed with surprising skill. In this poem there is much
of Goldsmith's sweet simplicity, though Pope's style
was evidently the model on which it was formed. The
description of an occurrence at Wexford, in the rebellion

Ixxiv MBMOIR OF THOMAS FURLONG.

of 1798, shews that oar poet knew every avenue to the
homaD heart. The blood nins cold as we read it." A
second edition of the Misanthrope was published in Dublin
in 182L About that time the author printed a few stanzas,
which he entitled, ** lanes written in a blank page of Lady
Morgan's ' Italy.' " He soon after received the fol-
lowing letter from that highly-gifted and patriotic Irish
lady, whose talents do honor to her native land.

** In acknowledging the receipt of year letter, and the veiy
interesting little volame which accompanied it, I beg to assure
yon that I am sensibly alive to the approbation of minds, honest,
enlightened and liberal, as that of the author of the < Misan-
thrope ' appears to be. Snch testimonies, in favor of my inten-
tions, at least, have always been a sufficient counterbalance to
the paid scurrility of hired critics — and from whatever quarter
they come, they are both precious and gratifying. — Tour poem,
written in the blank page of ' Italy/ has been read and admired
by persons of more judgment than her whom it must naturally
most interest. Feeling and writing as you do, I trust you will
not neglect ' The goods the gods provide you.' I shall always
be happy to hear of your literary exertions, without entertaining
a doubt of their success.

" 2&th March, 1822, '< I am, &c.

*' Kildare Street " Sydney Morgan."

These testimonies, from the most distinguished writers of
his country, must have been highly gratifying to the feelings
of Mr. Fnrlong, and notwithstanding his natural diffidence,
perhaps tended to inspire him with greater confidence in
his own abilities. About this time he contributed largely
to the New Monthly Magazine, London. In 1822 he
projected the New Irish Magazine^ printed in Dublin. In
1824 he published the *' Plagues of Ireland," one of
the most caustic satires that ever appeared on this side of
the channel. The following year, when the Morning
Register, a popular Dublin newspaper, was started, on the
Catholic interest, Mr. Fnrlong wrote those inimitable
parodies, which gave it a decided character ; and which.

MEMOIR OF THOMAS FURLONG. IxXV

baying ran the ronnds of the English press, were snbse-
qnently copied into the American Joomals. Aboat the
same time be became a contributor to Robina's London and
Dublin Magazine. Decidedly one of the most powerfol
pieces of ridicule in the English language is his poem on
Daniel 0*ConneIl, entitled, ** The Leader," which appeared
in that publication. When asked why he wrote those
severe lines on the indefatigable patriot, who was known
to admire him^ and who publicly termed him " A thorn
in the side of the enemy." He replied, '' O'Connell is
of too much value to Ireland to let him spoil himself: he
must sometimes feel the rod." Though our poet did not
speak in public, his pen was incessantly and powerfully
employed in favor of the great question of Ema$icipaiion,
which then agitated the country. On that subject, his
writings, both in prose and verse, are numerous ; and his
services were considered so efficient, that on the success of
the measure, his portrait was published with those of
O'Connell, Shiel, Steele, Barrett, Wyse, and other leading
members of the Catholic Association.

His poetical pursuits were not, however, entirely inter-
rupted by his patriotic and political labors. During the
years 1825 and 1826 he was occasionally employed on the
Doom of Derenzie^ a descriptive poem, which was pub-
lished, after his death, by Robins, London, 1829. This
poem was warmly eulogised by his friend and brother poet,
the late Rev. Charles Maturin, with whom he had been
long on habits of the closest intimacy*. It was thus spoken

* From among^ several familiar letters of this talented indivi-
dual to Mr. Farlong, the folJowing is selected for its brevity, and
its allusion to the aboTe poem :—

** Wednesday,—! trust the melancholy circamstance of my poor
father's death will excuse my not writings to you lately.— I am

IxXVi MEMOIR OF THOMAS FURLONG.

of in some of the London periodicals of the day. '' The
Doom of Derenzie was only passing through the press
when the author died. The poem is of considerable
lengthy and of a somewhat domestic character ; it addresses
itself to the most salutary feelings of the human heart, and
possesses a power and an interest, which the most romantic
fictions of the day could not communicate. The hero is a
character quite new to us ; neither Lady Morgan nor
Mr. Banim has rendered us familiar with an Irish fairy-
man ; and, we believe, this is the first instance in which
his portrait has been given to the English public. As a
mere tale, this poem possesses all the advantages of an
ingenious fiction ; and to this is superadded the charms of
the most exquisite poetry — breathing the finest pathos and
the sublimest sentiments. Mr. Furlong was a poet in the
exact sense of the word : his soul seems to have glowed

confined with an inflammation in my eyes, for which I am under-
going a severe mercurial coarse ; but if you can have the charity
to sit with a blind invalid, come and drink tea with me this
evening from seven till ten. Bring your poem with you. I write
this with great difficulty. You see I have some chance of fame in
being ranked with, ' Blind Thamyris and blind Maeonides,' though
I confess it is the last particular in which I should wish to re-
semble those worthies. ** Faithfully your's,

" C. R. Maturin."
The writer did not long survive this letter. He died with a
broken heart, after having been made the dupe of a party of
religions bigots in Dublin, who, with all the bitterness of sectarian
zeal, prevailed on him to preach a series of shallow ** Sermons
against Popery," for which he was laughed at by many, and pitied
by all. This bigotted coterie, from the ''mitred prelate" to the
bible-reading votaries of the tea-table, afterwards suffered the
man of genius to die in comparative want. When Sir Walter
Scott, after his arrival in Dublin, visited Mr. Maturin's widow,
he burst into tears on beholding her situation. This affecting
incident does honor to the feelings of that distinguished man.

MEMOIR OF THOMAS FURLONG. Ixxvii

with a passionate love of nature; and he painted as he felt,
vividly and correctly. Were merit alone a sufficient re-
commendation, the ' Doom of Derenzie\ we are certain,
would become popular." The reviewer has given several
extracts, from which he says, ** Our readers wll perceive
how truly poetical the whole must be. The limits of these
pages render it necessary to omit those passages, and refer
to the poem itself, which will amply reward the perusal of
every reader of taste."

Mr. Furlong's last poetical efforts were the translations
of Carolan's Remains, and other ancient poems and
songs contained in this collection. When his aid was first
solicited, the writer had the same difficulty with him, as
with others, to prove that any productioos of value were
extant in the Irish language. Acquainted only with
the English words associated with our native airs*, he
smiled incredulously at the asserted poetical excellence
of the original lyrics, and even questioned their existence.

* The Yuls^ar .ballads, composed in English, daring the last 160
years, are a disgrace to our sweet and simple melodies, to which
they have been f^o cruelly and unnaturally united. This trash,
which modem colleetort have dignified with the title of ** National
Irish Song ! ! V displaced the native lyrics so effectually, that the
memory of the originals was soon wholly erased in the Anglicised
parts of Ireland. Mr. Furlong was, therefore, fully excusable
for his literary scepticism on a point with which men of more years
and experience were equally unacquainted. It is considered
scarcely necessary here to state, what every reader is already
aware of, that Mr. Moore's words to our *' Irish Melodies," form
a splendid exception to the foregoing ^eiMroi censure. " Poetry ,''
it has been truly observed, *' is the soul of melody .'' Hence these
beautiful lyrics will command admiration to the latest posterity.
Our patriotic countryman, T. Crofton Croker, Esq., is now en-
gaged on the subject of Anglo-Irish Song. He will separate the
ore from the dross ; and from his talents and research, much may
be expected in this department of national literature.

IxXViii MEMOIR OF THOMAS FURLONG.

It was true, he admitted, that he bad often heard them
spoken of, and sometimes praised, but that he considered
as ihe mere boasting of national prejudice. '' If/' said he,
'* they possess any merit, I cannot conceive how they coold
have remained so long unknown." After several expla-
nations, however, and an examination of some of these
neglected originals, his opinions began to change. He
at length confessed that he discovered beanties of which,
until then, he had been wholly unconscious ; and finally
entered on the undertaking, with an ardour and perse-
verance which continued to &e hour of his death. In his
translations he endeavored to express himself as he con-
ceived the bard would have done, had he composed in
English. He was '' true to his s^ise, but truer to his
fame." But as the public will now have to judge of the
merit of his labors, it is not intended here to anticipate its
opinions, by any premature expression of our own. On
the principle, that none but a poet should attempt to
translate a poet, his translations may be entitled to atten-
tion ; and on them his friends are not unwilling to rest
his poetical character.

A short time before Mr. Furlong's death, he attended a
public dinner in Dublin, at which the health of our patriot
bard, Thomas Moore, was drank with the usual enthu-
siasm. Mr. Furlong, having been called upon, spoke as
follows : —

" It is impossible to speak of Moorb in the ordinary terms of
ordinary approbation — the mere introduction of his name is cal-
calated to excite a warmer, a livelier feeling. We admire him
not merely as one of the leadings spirits of our time ; we esteem
him not merely as the eager and impassioned advocate of general
liberty — ^but we love him as the lover of his country. We hail
him as the denouncer of her wrongs, and the fearless vindicator
of her rights. What a glorious contrast does he offer to the
spiritless, slavish race that have preceded him. We have had
our poets, the Parnells, the Roscommons, and the Goldsmiths,

MBMOIR OF THOMAS FURLONO. Ixxix

distin^ished and celebrated in their day ; bot these, Irishmen as
they were, scorned even to name the ill-fated land of their birth.
It remained for Moore to tread the anbeaten path, and believe it,
his example will not be lost apon others. The fine mind of the
nation is already unfolding itself. Irish literature is no longer
unfashionable. The demand increases, and the supply is certain.
There is an exuberance of talent in the country, literally a waste
of genius. Justly has Ireland been called *' The Land of Song,''
fhe very atmosphere is poetical — the breezes that play around us
seem the yery breathings of melody. The spirits of our ancient
bards are looking down, inviting the youth of the soil to partici-
pate in their glory. How could Moore, when speaking of Ireland,
be otherwise than poetical? how could he touch on such a subject
without catching an added spirit of inspiration ? Ours is, indeed,
a country worth loving— worth struggling for — aye, worth dying
for. Who can look on it with indifiTerence ? The land of the
beautiful and the brave— -the land of the minstrel, the saint, and
the sage — the home of all that is lovely and endearing^ —

Green are her hills in richness glowing,
Fair are her fields, and bright her bowers ;
Gay streamlets thro' her glens are flowing.
The wild woods o'er her rocks are growing ;
Wide spread her lakes amidst laughing flowers.
Oh ! Where's the Isle like this Isle of ours ?

Such has been the source of Moore's inspiration."

On this occasion Mr. O'Connell, who presided, pro-
noanced a glowing eulogium on the talents and patriotism
of the speaker, declaring him, in his opinion, second only
to the inimitable poet whom he had so eloquently described.
Soon after this, Mr. Furlong's health, which had been long
declining, snddeoly gprew worse. A general weakness per-
vaded his frame, accompanied with a total loss of appetite.
His disorder, although he had the best medical assistance
which Dublin could aflTord, proceeded rapidly, and, after
a short confinement to his bed, he died on the 25th of
July, 1827, in the thirty-third year of his age. He was
interred in the churchyard of Drumcondra, in the vicinity
of Dubin ; and over his grave, which lies near that of the

box MEMOIR OF THOMAS FURLONG.

celebrated antiquarian, Grosb, his (riends have erected a
handsome monameDt, which bears this inscription : —

TO THE MEMORY OF

THOMAS FURLONG, Esq.

in whom the purest principles of

Patriotism and Honor

were combined with

Saperior Poetical Genius,

This Memorial of Friendship

is erected by those who Yalued and admired

His various Talents, Public Integrity,

And Private Worth.
He died 25th July, 1827, aged 33 years.

MAY HE REST IN PEACE.

The following lines were the last which issued from the
pen of Mr. Furlong, written a few days before his death : —

THE SPIRIT OF IRISH SONG.

Lov'd land of the Bards and Saints ! to me
There's noug^ht so dear as thy minstrelsy ;
Brisfht is Nature in every dress.
Rich in unborrowed loveliness ;
Winning^ is every shape she wears,
Winning she is in thine own sweet airs ;
What to the spirit more cheering can be

Than the lay whose lingering notes recal
The thoughts of the holy — the fair — ^the free

Belov'd in life or deplored in their fall ?
Fling, fling the forms of art aside.

Dull is the ear that these forms enthral ;
Let the simple songs of our sires be tried.

They go to the heart — and the heart is all.
Give me the full responsive sigh,
The glowing cheek and the moisten'd eye ;
Let these the minstrel's might attest,

ad the vain and the idle — ^may share the rest.

ilAd

PART I.

REMAINS OF CAROLAN.

It was a good old custom, observed in former days, to
introduce works of learning and genius by ** commendatory
verses." . Shakspeare, Milton, Dryden, Pope, and other ex-
alted names have not disdained to preface their productions
with these passports to fame. The rhymes of honest Andrew
Marvell, beginning —

" When I heboid the Poet blind, yet bold,''

yet survive, and generally precede ** Paradise Lost." In imi-
tation of this laudable custom the ensuing Ode is placed before
the Remains of Carolan. It is the production of one of those
men of genius with whom Ireland has at all times abounded,
but who are as little known to the good people of £ngland, or
even to the would-be English of Ireland, as if they had never
existed : because, '' they were born Irishmen and men of
genius," and wrote in a language rendered unfashionable by
those acts which enjoined our ancestors to purify their '* upper
lippes" with steel, to enable them to *' speke Englishe"
with effect — This ode in our opinion exceeds even Marvell's
rhymes, and bids fair to last as long. Por the present it will
serve to introduce Carolan to the reader, and shew the estima-
tion in which he was held by his cotemporaries. Envy, the
old and natural infirmity of the Poetic tribe, recoiled within
itself in his presence ; and his praises were resounded by his
brother Bards, witli the undissembled homage always paid to
superior genius.

IRISH MINSTRELSY*

&^ mhililin fe&^3 -police 6}i<^<>Tbh

^Jiui* |s/lhe<^hbh<^, in3he<^n Coch^^ibh,
50 ve^^P^^Ti Oipshi^^ill, 3l(ininh<^|i, 3[iinn,
le Y bTi'ionmhuni ^uchc<^ Chonccoluinn.

<f|o 30 3-C|i^chqp<tf6he Ul^bh -p^'n |VI<^i3n«f

Conn <^3U'r Cojmi<^c comh61ie<^i-,

4fi I8i3y:e<^6h <^n C<^|iniho3<^ll ^^3 ^in

b'^hwl 'Ubh^^imh, <^chc <^3 ^lii6|iT3h.

REMAINS OF CAROLAN.

WELCOME TO CAROLAN.

I

AN ODE, BY JAMES COURTNEY,^
TRANSLATED BY THOMAS FURLONG, ESQ.

Oh ! millions of welcomes for thee.

Chosen hard of the foir and free.

From the mansion of Meav^^ thou comest in pride

To where Orgial's flow'ry fields^ spread wide.

Dear to CiichuUin, that dreaded name^

Bright and high in the rolls of fame.

If Connor still in Emania reign'd

Brilliant would be thy cheer^
Long would the sacred gem be retain'd.

High priz'd and precious, and dear.
All Ulster upon its beauty might gaze.
And the land be bless'd by its. scattering rays.-

V

The four Nials'^ of Tarah's embattled pile,'

Con and Cor mac <^ of regal birth.
Would not give up the prize, the pride of the Isle,

To the proudest foe upon earth.
Oh ! glorious and great in the tented field
Must the monarch be who might malce them yield.

6 IRISH MINSTRELSY.

OitpheuT chU^inne ChAzh^^\i i bhe^Xy
5e<^ll ce$il i*r\ Ti.'2lp<^ n-oijt

bo rbe<^lWiui3h ^ip &-dir P<^iitk^iT"T-

5<^cli 6uine Theinne<^T ^^ ^ lui6he<^nn 3iti<Vn,
1|- && Ti-^ntwHinn 50 niuiji &-Coi]iiti<^n ;
Chontbhe<^lbh<^ch 60 sheibh *tk^ l^imh^
* 71 n-<^o1bline<^i'* ^ n-^p 'x ^ ^-<^lt^n.
^In c-dblnt&Ti,
C<^ <^n c-<^it<^Ti 'n ^ U^iTYih 30 b^T wJ^ i"hanm& le c&ll,

6-cgu6 J
7ln cuTYi<^b$i]t ^jtb-yo Yh^puish <^n chjtuinne le c&th,
'X b<^ chubh<^i&h bho ^&ilce bhi<|nt i^ijt bh& mhilidn beucc.

REMAINS OF CAROLAN.

Rich jewel art thou of old Temor, of kings^
Darling of Ulster of red red shields — '

Where's he who like thee can strike the strings ?
Where is the voice that such music yields ?

Bard of Clan Cahir^s the race renown'd.

Light of pur isle, and the isles around.

The prize of harmony's sent from afar,

My Turlogh that prize is thine.
It comes from Apollo^ the old world's star.

The guide of the sacred Nine :
And each bard that wanders o'er earth and sea.
Seems proud to learn new lays from thee.

Oh ! yes ! from thee, thou son of the song.
Full many a strain may they borrow,

'Tis thine in their mirth to entitmce the throng,
Or to sooth the lone heart of sorrow :

Then welcome to Orgial'a flowery fields.

Thou darling of Ulster of red red shields.

S IRISH MINSTRELSY.

Mo Veun 'x ^o chp{<&h s^n mi 'r mo 5hfi&6h,

^ n-5le<^nnti<n ^luinn fleibhe ;
5<^n ne<^ch 6'&p j-ci^ijt&e bheirh le yt&sh^H,

jtiSh n<^ n-5|i^r^ c& ni6h bh^^mh qi{^chc<^6h ope,
^ cbiuin-bhe<^n Ti^ifie<^ch, bbgur<^ch ?

T 5^1} t*^ *>o S^^P^i^^^-r^ t^ qt^ wo l&it

'<^6. rb^^ijbiocci^ibh chji&ibhce, shguiK^ !

Ir TMoch ^^fi mdibin, &o 5hlu<^ii-e<^|- <^n <^in|?ht|i,
?l3ur <^ cuillh <^3 c^x^bh l^ichi,

M<^P r^r<^ &ItichlMn d^ TS^imh <^n leinbh,
^I'r 3^<^^ ^I'l' i>i <^3 ce<^chb le ch&le ;

21 z^&>h m^ii ^n s-cpiorb^l, <^b&tiTi ww^U.
6<^p liom, bu&h bhinne 'n^ such c^u6<^,

irgimh <^ IMc^, <^ b|i^3h<^i& nK^it <^n e<^U,

REMAINS OF CAROLAN. 9

MARY MAGUIRE,^

BY THOMAS FURLONG.

Oh ! that my love and I

From life's crowded haunts could fly
To some deep shady vale by the mountain^

Where no sound might make its way,

Save the thrush's lively lay.
And the murmur of the clear-flowing fountain ;

Where no stranger should intrude

On our hallow'd solitude,
Where no kinsman's cold glance could annoy us ;

Where peace and joy might shed

Blended blessings o'er our bed.
And love ! love ! alone still employ us.

Still sweet maiden may I see,
That I vainly talk of thee,

In vain in lost love I lie pining,
I may worship from afar.
The beauty-beaming star.

That o^er my dull pathway keeps shining ;

10 IRISH MINSTRELSY,

loime <^'t t6un <^'t SToshbhi^il c&lle^

fe'K^jtjtYJi^&h nj}t&&li i^ijt bich le n-<^ t'^^i^'^ cheile

6<^]i bftish mo bh<^iiTi6h V-p^VV^ liom <^3<^ni,

C<^ilin 3e<^n<^TYihuil, n3&[ie<^Tnhuil,
'<l]^ Un r\\ le<^bdi<^ bhe rqioinre ci^iliche

REMAINS OF CAROLAN. 11

But in sorrow and in pain.

Fond hope will remain.
For rarely from hope can we sever,

Unchanged in good or ill,

One dear dream is cherish d still.
Oh ! my Mary ! I must love thee for ever.

How fair appears the maid.
In her loveliness arrayed.

As she moves forth at dawn's dewy hour.
Her ringlets richly flowing.
And her cheek all gaily glowing.

Like the rose in her own blooming bower ;
Oh ! lonely be his life.
May his dwelling want a wife.

And his nights be long, cheerless, and dreary,
Who cold or calm could be.
With a winning one like thee.

Or for wealth could forsake thee, my Mary.

12 , IRISH MINSTRELSY.

^<^iiiioiin,

^<^]i z^'n |i1o3<^n pn "^p^^nnl, inshTn bheiye 5he<^|tAiU:,
piAnnb^^ If binne, shitinne, *t i|- bllfe be mhn^ibh :

C|i&cli TK^ch ni-bii)Tie<^nn 'n ^ n-s^^jt 50 bh-ipuishe p<^-

7l\(\x qi^ch bhi&he<^mi *n <^ 6-c<^ichT5lie,&it3hi& <^ 3-qio'i6he
'T a n-^i3ne
7Vx beift p<^& liom be phfieib 30 m-bt&he^^nn p<^& fl^n.

' I* 1 ph^mqr TiA |nnne, <^n p^uplA b]ie&3h leinbh,

5u}t 'n <^ h-^b<^in c&'n lile, 3amhite<^&h n<^ 3ile,
^X c& 3<^ch m6h bjtach buille <^3ut bi^nt]i i^ijt <^n |i$|- :

^uch^^^i&h mS mo 3hlioc<^T, |i&}t nK^p c& m'oibe^^y,
eip3hini ^Xy 'T ^^ bheijiiTYi nl6h ^chc ^n ch^ijt :

lionc^^ji x^^X ^^ c<^Tin<Ci&he, ffib f^ chu<^iitini "^^^nifi !
yi&wice chi^ipcin 5he<^itdilc choiWiche beiMie^^m b*K h-^.

REMAINS OF CAROLAN. 13

FANNY BETAGH.^

BY THOMAS FURLONG.

Mypath I shall name not to any.

All know 'tis to Mannin I steer ;
1 seek the bright home of fair Fanny,

I go her gay accents to hear :
Young Fanny so gentle, so tender,

Whose glance with enchantment is crowu'd,
"Whose smile, like the sun in its splendor.

Spreads blessings and brightness around.

O Gerald ! thy daughter's young beauty

Leaves many a proud one in pain ;
To praise the bright maid is my duty,

But why do 1 try it in vain ?
Come friends ! while the moments are going.

The joys that ttey bring let us share,
And drink in a bumper overflowing^

To Fanny the flower of the fair.

14 IKISH MINSTRELSY.

11 xh^^h^\\i <^'r ^ chuifle, ii& rp&3-fi chdi6hche ine-p,

50 m-bei&hinn-p A3U|- cu-y^, n-&n):he<^chc 3<^n cuipj-e,
7lsuLX n<^ch t(i &*ip<^i3 opi<^6h <^iin l&ji mo chjtoibhe :

^ i:heu&<(iTYi-|n coblA <^en oibhche 30 pc<^i]i,

llchz A3 pnui^inMbh opc-y^^ <^n cp^ch pn 60 bhibhim ;

?l3U|- peip mo bhApAmhl<^ 'x cfi <^n ipeipin ]pu<^ip P&pit
bh^nuy, Aip A y3piof<^6h 30 bp&ch <^n Cpoi6he.

^l bhpi3hicc bhe<^3, 6he<^tj ^ bh&lin meAlA,

le'p v<^^bh<^&h le<^t;-|-<^ i:e<^p<^ clipTche 'P^Cil,
T 3*^n bh'&|:e<^chc<^'iche 3<^ch TC<^ip &'& lei3hce<^p bhumn
<^ip feheiTC

bbfenmi*, lun$, l)elen <^'if n& 6&ipbpe <^n &13I1,
^l |3eimh yu6 ^x ^ »i-3l<^iTie n-&n]phe<^clit; 3<^n e<^yb<^i6h.

It e<^3<^l' I'loi^ 3^ feeimhrn sup <^b <^3<^b-if<^ c&,*
(yi6up<^ c<^^U, i)e<^T<^ IT cp^ibhcliTclie <^3 Temne<^bh

^In peibh-phoipc chliT^e <^ip ch^^oui-chpuic T^^^^wh,

REMAINS OF CAROL AN. 15

BRIDGET CRUISE/

BY THOMAS FURLONG.

Oh ! turn thee to me my only love.

Let not despair confound me.
Turn ! and may blessings from above

In life and death surround thee.
This fond heart throbs for thee alone,

Oh ! leave me not to languish.
Look on those eyes whence sleep hath flown.

Bethink thee of my anguish ;
My hopes — my thoughts — my destiny —
All dwell, all rest, sweet girl, on thee.

Young bud of beauty for ever bright.

The proudest must bow before thee ;
Source of my sorrow and my delight —

Oh 1 must I in vain adore thee ?
Where, where, through earth's extended round.
Where may such loveliness be found ?

Talk not of fair ones known of yore ;
Speak not of Delrdre the renowned,'

She whose gay glance each minstrel hail'd ;

Nor she whom the daring Dardan bore
From her fond husband's longing arms ;
Name not the dame whose fatal charms

When weigh'd against a world prevail'd : —

16 * IRISH MINSTRELSY.

C& T\6. ceub^ ipe^^p cliire, <^n-6clipT <^i|t Tnei|3e.

^6ub (kb 3^Ti ei^T^i^^j ^3 e<^3n<^ch 6, le<^c1i-qtoiin,
^l 5he<^3 $3 r\^ m-b<^ch<^ll ni-b&n ^3uy TH-bui&he :

'Y* 1 S^S^^n n<^ iii-b<^Ti 1, bjt^s&n n<^ bh-ipeAit T,
5^U3 A3 ^ m-Wbhei^nn c<^ichne<^TYih, c&il <^3uy 3ii<^oi6h^

^h$u&ui3h &[i piK^l, AjuT 60 Iui3he<^&ui3h <^ji n-3e<^n,
^l'& &hi<^i3h-p le x^^9 ^ ^'V^ za-x^ <^n ci|i.

C& lYi'innnn i^ijt nie<^itbli<^ll,<^3UT m' incle<^cht; 6*& b^llAih,

le qiom-chK^ch le ^b^, 16 <^3ut 6'^&hche,
'^-&i<^i3h 60 bhinn-bhjtK^dK^ji m-bU^T^? ^^ 3-c}tuinn-
c1iioch<^ Ti3e<^l<^,*
^<^ 3-cit<^6bh-i:holc iii-bite&3h, n-6<^ichce, ly bjie&3hbh<^
Aiji bich piob ;
60 3h]iiy-lMc<^ chAnA, bheu]iY:<^&h Y:<^oiTe<^Tnh bo luchc
3<^U|i,
6''|:&3bh<^iT pi<^n ni$it <^i|i ):he<^it<^ibh, cp&ch &e 60 fchidi ;
^&'lf binn libh le n'<^ichitiy, ']■ i <^n ):^i[im ^ eh<^TK^iiii,
^6iQh i^cfibhinn bo'n fe-c^^U^mh 'n <^|i ch&}tU^i3h, ']• 1

REMAINS OF CAROLAN. 17

To each some fleeting beauty might fall,
Lovely ! thrice lovely, might they be j

But the gifts and graces of each and all
Are mingled sweet maid in thee !

How the entrancM ear all fondly lingers.

On the turns of thy thrilling song ;
How brightens each eye as thy fair white fingers

O'er the chords fly lightly along :
The noble, the learn'd, the ag'd, the vain,
Gaze on the songstress and bless the strain.
How winning, dear girl, is thine air,
How glossy thy golden hair :
Oh ! lov'd one come back again.

With thy train of adorers about thee, —
Oil ! come, for in grief and in gloom we remain.

Life is not life without thee.

My memory wanders ! my thoughts have stray'd —

My gathering sorrows oppress me ;
Oh ! look on thy victim, bright peerless maid.

Say one kind word to bless me.
Why ! why on thy beauty must I dwell.
When each tortured heart knows its power too well ;
Or why will I say that favor'd and bless'd

Must be the proud land that bore thee ? —
Oh ! dull is the eye ! and cold is the breast

That remains unmov'd before thee.

VOL. I. c

18 IRISH MINSTRELSY.

yul )?& n'^ntsKibh cu <^ip iYi<^i6in b1c6h 60 Mie<^i'-l&nrih u<^ic

fince,
^<^p <^ bh-^i^Sh cu 60 bhuibe^^l 6e*n bhioc&ile bh|iio3hiiih<^it ;
Xiil f^ n-&e<^n<^ibh cu 60 choinie<^3<^bh cuip 3it<^ibe$3 ):X

&o ch]toibhe bhe,
^/l^'r nx^ich iMc 't ^* z-x^o^^l-yo bheich bu^^n, ywl'l'^^i^j

beSbh,
Cnt3hi&h 30 c<^fK^i&h <^3ui' f^^xs ^T*^ ^^ bh|ti}Ti6h,
^& ^n le 60 bhe<^|iji<^&h, &o 3hlAn^&h no &o cHToit^^bh,
^0 30 3-cui|tib1i tu bo3-ch<^pit<^iii3 y^ io i3<^ipce<^ch' 't bo

phiob<^Ti
fee'n n-lliTci6he m^^p ^ecc<^p, bo choi|3e<^|' 3<^chtoc<^,
^I'r $ mh^ibin 30 h-oibhche cuip-pe^^t ceile<^bh<^p <^'b 3hlop.

^X iocThl?Lince <^n c-uij-clbhe lei3lie<^T<^t <^3ut yM^uui^he^x
3<^ch cinne^T ^3ut <^icib b*& le<^n<^nn pol 'Jlbh^^imh j

REMAINS OF CAROLAN. 19

WHISKEY IS THE POTION THAT CAN
CURE EVERY ILL.'

BY THOMAS FURLONG.

At the dawning of the morn^ ere you start from the bed^
Try and clear away the vapours which the night has shed.
If drowsy or if dull,
At the bottle take a pull,
And comfort thro' your bosom the gay draught shall spread :
Moistening, cheering, life-endearing,
Humour-lending, mirth-extending —
Be the whiskey ever near thee thro' the day and the night;
Tis the cordial for all ages.
Each evil it assuages
And to bards, and saints, and sages

Gives joy, life, and light.

Oh ! whiskey is the potion that can cure every ill,
'Tis the charm that can work beyond the doctor's skill j
If sad, or sick, or sore,
Take a bumper brimming o'er.
And sprightliness and jollity shall bless thee still :

c2

20 IRISH MINSTRELSY.

^'l (iT&ik le 6ochcui|t n$ le poicec^ijtfthe 3<^llb<^,
^Ichc 61 V&n TS^l^ bhe 3<^ch ni<^ibin ^'y 3<^ch oT&liche.
*lln bioc&ile be^^nbuishche bo choii-pic ^<^OTYih pi^ccpuicc,
^& cai|ti&h i 3-coiiip|t&i& le -pTonc^ibh n<^ yp<^inne,
le t)u|t3un&tbhe n^ '^p<^fnce, n6 l)oc n<^ n-'2llm<<mne,
le jlum no le h-'2lpp<^c 60 ch?linic ch<^p y&ile,
O't 0C&1& inhip b^iy i<^6 &o loii3e<^f <^p 3-cpoT6he.

fVI<^ c& w^CTll <^mh<^ipc ope n$ bupy^^n <^nn bo clilu^^j-i^ibh,

Coilic <^Tin bo 3h<^ile no 3pe<^b-loi3<^bh -pui^il ope,

5ur <^nn bo choy^^ibh no App<^in3 <^nn bo 3hu<^ilnibh,

01 n<^oi n-u<^ipe beoch UiTclbhe 't <^n IS.

5l<^nTP<^ibh bo poi3, beibhip <^i3e<^nc<^ch, up-chpolbhe^ch,

^eAnnin<^ch, cliire 'y ^^ chuip|:ibh fui^chc ope,

•Zlnn pn 3he^bhdip cobU^, pc<^p^chc ^*x T^^^^'^^c^Tj

^"i ch<^obh|:<^ibh Cu <^icib, nnne<^T n& bu<^ibhpeAbh,

50 m-beibh td beich n-'U^^ipe chomli te<^n leiT <^n 3-ce6bh.

REMAINS OF CAROLAN. 31

Still seducing, glee-producing.
Love-inspiring, valor-firing —
Tis the nectar of the Gods — it is the drink divine ;
Let no traveird dunce again.
Praise the wines of France or Spain,
What is claret or champagne ? —

Be the whiskey mine.

Oh ! bright will be your pleasures, and your days will be

long.
Your spirits ever lively, and your fi*ame Htill strong ;
Your eyes with joy shall laugh.
If heartily you quaff.
Of the liquor dear and cheering to the child of song :
Gout-dispelling, cholic-quelling,
Agues-crushing, murmurs hushing, —
To the limbs all old and feeble it will youth restore ;
And the weak one who complains.
Of his weary aches and pains.
If the bottle well he drains.

Shall be sick no more.

22 IRISH MINSTRELSY.

2U\i cu<^iiic chum c-Yeoin chum i^c^^mhi^il 6'ipA3h<^il,

*Jln Yc^^f^jib^^ch bjieJ^sh, t&t^ n<^ch sn&ch 3<^n ch&ll :
^I'T <^ 6-cAcA An mhe66h<^n-o16hche 60 bhiobh pTin <^3 61,

^l5UT <^iji m<^ibm ^idy ^r\ c6iji6k^I;
'Y 6 mhe<^T fe 6 mh^mn mhAich 5UJ1 bh'€ t'i^ <^n ^uy
le Cedpbhi^ll&n c<^och 60 bheo6hu3hA6h :
Yedl Aiji meii3e, ye^l <^i[i buile,
|leubd6h ceu6 'x ^3 ^^^ ^^P mijie,
^In v<^ipun pn 60 chle<^chc<^m<^i[i n1 i3<^jii:<^m leir 30
6e6i3h !
6ei|iim ^iny e, <^3u|- trni-pm bo'n 6-rfip ^,
M<^'r wAich libh feo bheich r<^dT3h'Uch bi6h16h choibhche
<^3 ol.

REMAINS OF CAROLAN. 23

PLANXTY STAFFORD.'

BY THOMAS FURLONG.

When in sickness or in sorrow I liave chanc'd to be.
My Iiopes my dear Stafford were plac'd in thee,
For thy friendly care and skill.
And thy drink more cheering still.
Left the jolly-hearted bard from each evil free :
At midnight all merrily our cups went round ;
Our joys in the morning the gay cordial crowu*d ;
For the past had plainly shewn.
That in this, and this alone.
Old Turlough unfailingly true comfort found :
Drinking, drinking.
Never thinking,
Roaring, raking,
Harpstrings breaking, —
Oh ! this is my delight — ^'tis the life for me ;
Then let glasses overflowing.
Still o'er the board keep going,
Bright gleams of bliss bestowing

On the sons of glee.

24 IRISH MINSTRELSY.

3o iTi-bu6h Y<^6<^, bu<^n-rh^03h'Uch bo bheibheAr cu beo&h,
^l <^en-tnheic "^Tieoin mheic Choiii^ij- bhJ^in,

T 50 bh-i:uil nA chui3 choTse Un be bo 3h|i<lbh :
T^P ir 3|iinne A 5-ceill x'^ b-cui3Tin,
Chm|i]:e<^bh r\A clSiji 30 lei|t <^i|i Tiieii3e ;
^eip re 3WP b'e mo liAi3he^i- ^m^x le^^nmhuin be 30 beoisli :
Ir rollur<^ch bo'n c-rAoi3he<^l, 30 b.re<^nnY^inn le'm
chfioibhe e,
^In yc<^^<Q|ib<^ch b|ie<<3h pAnr^^mhuil, o'ye nihi<^nn bheich
ch<fibhche <^3 ol.

REMAINS OF CAROLAN. 25

Oh ! many joyous yeare may my friend still see.
This — this my fond pray'r to the last must be ;
Let the country all around
With my Stafford's praise resound,
As the lover of wild merriment and harmony :
Filling, quaffing,
Joking, laughing.
Ever pleasing.
Never teazing.
Still plying the gay bard with the song- fraught wine ;
Oh ! Stafford dear thou art.
To this old but honest heart.
Aye ! its fondest, warmest part

Throbs for thee and thine.

26 IRISH MINSTRELSY.

^In le$iYihAn bpei^sh, pine^nfeA, pilbhip, c&llfthe ?
6e'n n-uAitle shiiinne 60 5eine<^6h 6 3hA$6hlAibh j
7Vx TK^ch tAcfiche<^Tnhuil,cui6e<^chcAiYihuil, oine<^ch<^nihuil

7I1J1 <^ chuAipc chum r\\ h-<^ice beibh b^ifie <^i]t 3<^ch

. Ol<^m A thlx^ince, 3ii<<6h mo cli|toTbhe <^n p|tedb<^itte ;
CK bh-|:uil -pe^^P ^ bh&jijich<^ 6'n n-5p<^"'P3b 30 5^ilen3 ?
bSuji):^!* 3le6i6h 60 nA p^iyifibhibh ^^ux &[iu|- 60 tbe<^Ti-
6Aoinibh — ^hom bo !

beibh As^mn tpoiiic, ipe6il ^'^ay be<^ch<^-uii3e,

^li[i3io6, o\i ^^suj* 6$b[iAchA cedfk^i|ti6he,
5m, jium, iffion, p^ficefi ^^ux c$r3 <^n n-<^ici61bhe j

beibh c^ubA 6'& n-66i3hclie<^61i, '|- ifT bheibh bji6n cboi6h-
che -pe<^t6<^ opjK^mn :
'Y n<^ch ^e<^6bhAi!c <^n qit'<^n-'phed[i bubh qieibhiche bhifeh
luimne<^ch ;
Ce<^nn):uijic s^ch ji&6hnch,f& b'-pSuchipi^feh <^ s-comhjK^c

11 ThAmhuil ilT'l <^*n-C|imn, ^'x ^^ n-6^u[iip<^mn-p A y<^c|'<^n,
li^ux colmhbedchi^n 6e leiy An 6eA3h-mhAc pn
l)ATm|iUibhe,

REMAINS OF CAROLAN. 27

EDWARD O'CORCORAN.

BY THOMAS FURLONG.

O, Corcoran, thy fame be it mine to proclaim.

All meet thee, all see thee delighted !
As the bards tell the tale, thou hast sprung from theGael,^

A race that should never be slighted :
On thy dear native plain we behold thee again,

And thy coming is cheering to many ;
For from Gallen to Grange,' tho' we turn and we range.

We will find thee unequalled by any.

What crowds shall resort, to our feasts and our sport.

The silver and gold shall be flowing.
And the heart-cheering wine, that liquor divine.

In bumpers around shall be going ;
Oiu" harps they shall ring, and our minstrels shall sing.

For the hero of Limerick^ is near us, —
Search the nations around, and his like won't be found,
.Heaven bless him and spare him to cheer us 1

28 4RISH MINSTRELSY.

u<^il-libli s^obh^l,

'Zl'r ^ip T'^e<^3b<^n 0'l)<^i|ic u<^6h cheAfic boUbhjiAim

^edji be'n n-<^icine |*c<^ipe<^6b pion 50 |i&6h,

^l3U|- |K^innpe<^6h ^ 30 -piw^j- le ttk^c <^n cheoil 'y <^n
l&i3hinn ;
bK m-beibhinn 'x ^^ jloimb m^p. b'<^ic liom, 'i* 30 Tn-bi<^bh
wo bhJcA in3hlAcch<^,
It Knoji 30 n-b^^^n-pAinn 6^1-^03 mSfi bhioc -jp&n.

yaobhA|t6 ce<^jic bo nih<^c nA 3l6i|te ^ )p€in,

50 m-bubh bu<^n 6 bh-'p<^6, ^x mdc 6e'n n-ojib 6 30 l&|t ;

REMAINS OF CAROLAN. 29

DOCTOR HARTE.

BY THOMAS FURLONG.

In this hour of my joy let me turn to the road,

To the pious one's home let me steer ;
Aye ! my steps shall instinctively seek that abode.

Where plenty and pleasure appear.
Dear Harte with the learned thou art gentle and kind.

With the bard thou art open and free.
And the smiling and sad in each mood of the mind,

Find a brother's fond spirit in thee.

To the lords of the land we can trace back thy name.

But a title all bright is thine own,
No lives have been lavished to prop up thy fame.

For it rests on calm goodness alone.
Could they deign in old Rome my fond suffrage to hear.

To that spot for thy sake should I roam ^
And high in the conclave thy name should appear,

Known, honoured, and lov'd as at home.

30 IRISH MINSTRELSY.

4li 'Upon be<^n n& le^^nbh Aip e<^r''<^i6h ce<^5<^i|3
^^ch W'b^n^bh re^^nmhoijt nih6|i 66ibh le ceill,

^l pl^ftoib bhe^x ^r TW<^icli 60 bli$c<^ choil uT ^^eill,
^liO-pon u<^i|t iiA qi&ch 6'<^ bh-|:<^T3hinn u<^in ^^ip ch<^ch,
^<^ch n-6l>*Ainn i-u^r 3^11 n^^y 60 yhU^ince bh|te&3}i,
tbelmh.

REMAINS OF CAROLAN. 31

To thy master in heaven a true steward art thou^«

From thy lips his high mandates we bear ;
And the young and the aged submissively bow.

When thy voice comes in peace on the ear.
Oh ! good is thy fame in the land of O'Neill,'

Kind heir of the race that is pass'd.
Let others, when drinking, still falter or fail,

I'll pledge thee, dear Harte, to the last/

32 IRISH MINSTRELSY.

Hl5r)l<»1 Ul [711)01161)71,

re^ibii'zic bt)e7ii.'zncT)-Te2i<»i<ti7ii5r).

fub 1 ):eifnn b^3h-bh<Qn n-<<ilne,

UA6h Chonclmb]i<^|t 0'll<^5h<^lUi3h 30 7T>&bhabh

'Zln |ii3li-bhe<^n 03 ij* inUlj'e po3,

Ij* <^i|i in3he<^n ui |7lh6|i&hA cbp&chc<^ini : —
5<^^l n<^ ]tl3h-|:heAit l?vi6i|i,

Ij- cu 60 lu<^6h<^ini <^'ni pj^ibhnbh.
ll" c|tu<S3b 3<^n nie ^^ux 3eu3 nA bh-p&inne<^bli<^,

•iliii oile<^n n<^ 3-c<^e|i 'y 3<^n Aen ne<^ch IXimh liini,
•ilchc yinne bheich <^3 $1 6 ol6hche 30 15,

'Y <^3 )-einne<^fc)h 30 yeSlc^^ <^i|t chl^ifiyich

REMAINS OF CAftOLAN. 33

O'MORES FAIR DAUGHTER;

THE HAWK OF B ALLYSHANNON.
AN ODE/-BY THOMAS FURLONG.

Flower of the young and fair,
'Tis joy to gaze on thee ;
Pride of Qie gay green hills of Maile,
Bright daughter of the princely ilae]^
What words thy beauty can ♦ eclare ?

What eye unmovM thy lo eliness can see ?
Fond object of the wand'rer's praise.
Source of the poet's love-fraught lays.
Theme of the minstrel's song.
Child of the old renown'd O'More,

What charms to thee belong !
Happy is he who wafts thee o'er

To yon green isle where berries grow —
Happy is he who there retir'd.

Can rest him by thy side.
Marking with love's delicious frenzy fir'd

Thy young cheek's changing glow,
And all the melting meaning of thine eyes ;
While round and round him &r and wide,
On the shore, and o'er the tide,
Soft strains of music rise,

VOL. I. D

34 IRISH MINSTRELSY.

'ZI't 3<^ii ce<^6 <^ici <^n oipe^b yin 60 ch^jK^feh,
^Ichc bdm <^5UT cup ffoT 30 miAnnnih^^ji, nK^i^ei^ch,
5<^n chomhjidc, 3^11 shftuAim^ 3<^n ni^ipe.

^H^^ch ^oibhinn 60'n c-^ (ife b'v&ibv^feh <^ we^lUbh,

5^U3 n<Q Tn-b<^ch<^ll bh-):&innedch,
Ymp nA |iTo3h <^ nioj* 6 Che<^iTih<^i[i,

60 ffolfiuish $ Chon^ll Cei^iwAch ; —

^ bh&sh-injhin chAp^ibh (Tlh^nuiT,
Tf rii te^bhi^c n<^ h-Ciiine A't bhei^l-^ich-TednTK^iSh,
^l3U|' mi<^nn 3<^ch miAnn cAji inhn^ibh cu j

If ^ ci^jinn-fhoilc ch|iA&bh<^ch' fioj- 30 cAlAwih,
^13 TMlle^^bh Y 6. c^T^bh 30 ^^inne^^ch,

71 t&il TnA|t bbpiichc 'r <^ lTiw<^i>^ biie<^3h, c<^ilce
M^P bh^nur <^3 ce<^chc 6'n n-b^imh-chc^nn 5 —

'X ^ Th<^<>iliTn TF^in 3U[i b't fi^uk ti<^ wAibne,
^I'r 30 ni-bl6he<^nn 3<^ch 6uine <^ Ti.3ii^6h l&.

REMAINS OF CAROLAN. 35

Varying thro' each winning measure.

Soothing every sense to pleasure.

Wild intense delight imparting,

Pain-touch'd rapture, sweet tho' smarting ;

He to whom such joy is given.

Hath, while here, his share of Heaven.

Happy ts he who hath gain'd thy love,

Happy is he who hath won thee;
Thy princely sires look from above.
And smile in their pride upon thee :
The race of Tarah, the men of name.
First in the gory fields of fame.
Oh ! fair one ! wherever thou art.
There is light for the eyes and balm for the heart;
The desire of desires, the essence of all,
That can torture, or soften, or soothe, or enthrall.
Thy step is life and lightness.
And thy glance hath a thrilling brightness ;
Thy waist is straight and slender.
And thy bosom gently swelling.
Outdoes the swan's in whiteness.

When she starts from her tranquil dwelling,
And breasts the broad lake in splendor.
Sweet girl these locks so wildly curl'd

Have snares and spells for many ;
Oh ! far may we range thro' this weary world.
And find thee immatch'd by any.
D 2

36 IRISH MINSTRELSr.

C<< T^^^^c Ti<^ l)-ei|ine ^ n-^n-phe^^chc Imne,

2lchc <^3 b[tonn<^bh 6i|i 'n ^ mh^nK^ibh ;
C^ <^ jdH Tn<^|i bhjiiichc 30 nu^bh <^i|i lile,

'Zlchc bu<^n <^3 b|ioir(i3h<^6h c^iU Tnh<^ich'j
C& cu<^ch l)hann*-e<^6<^i|i <^3 ^I53h<^6h Imne,

fiof 30 l)he<^l-i^iuh-Te&Tin<^i3h,
^l3Ut Tf e<^bh<^c r\^ l)-ei|ine <^3 cpi<^ll <^|i 3-conine,

^<^|i |t(in mhiliT bhe^^ch .n<^ b6<^lcoirie ;
71 chi(iin-bhe<^n bh6uT<^ch, Th&mhtbhe, Thpc^^ip,

M^bh 6' <^iTbe<^|i chu3 cuni<^nn <^3ut idlne,
<ff\^ -phuil ^n \i\i chiK^^bh ir c^^oine binne<^r>

REMAINS OP CAROLAN. 37

Art thou a thing of earthy
A maid of terrestrial birth ;
Or a vision sent from on high

In peerless beauty beaming —
Like those shapes that pass o'er the poet^s eye,
When he lies all idly dreaming.

Rejoice ! rejoice ! with harp and voice.

For the hawk of Erne is near us 5*
She comes with a smile our cares to beguile.

She comes with a glance to cheer us :
Not lov'd and lovely alone is she.
But bounteous as high-born dames should be.
On she moves while the eyes of all.
Hail the ground where her footsteps fall ;
Sweet are her tones as the treasured store.

Which the weary, weary bee
Culls from the flowers he lingers o'er,.
When he wanders far and free >
Sweeter far than the cuckoo's lay,
That rings on the ear on a summer's day :
But come, let this the rest declare,

In this bumper flowing o'er.
We pledge the fairest of all the fair —
The daughter of old O'More.

38 IRISH MINSTRELSY.

. chu<^i|ic,
'Jin c-6i3-iphe<^|i be'n bh-'p|i&mh, b'J^ji choip &o bheich cc&th,

ytib 6 mo TsSul <^3UT m n^ipe lioin <^ lu<^6h<^6h :
Y<^5<^fic 5e<^n<^inhuil, b<^[ip<^nihuil, ciiiii6hbhe<^cb, i^uK^ipc,

^^ch lii3ipe<^6h ne<^ch b'^^p cheA|tc b'ik ch^ipbe uile

lionc<^p r»^K^r "<^ T3^lAi6be, 'npiT b^\i liom ly v^pji ^6A,
l&5i&h ch<^|ic <^ri c-fl^ince db ')phei6hliTne ui ]tu<^6h.

]leijt nK^|i bhio&h <^i|i buile 'y ^ b&imh chmse 3hlu<^iT,

RBMAINS OF CAROLAN. 39

PHELIM O'NEILL.

BY THOMAS FURLONCL

At length thy bard is steering.

To find thy gay hearth again ;
Thy hand, thy voice so cheering.

Still soothes him in grief or pain :
Thy sires have shone in story.

Their fame with friendly pride we hail j
But a milder, gentler glory

Is thine— my belov'd O'Neill !

Still cheerful have I found thee.

All changeless in word or tone.
Still free when friends were round thee,.

And free with thy bard alone : —
Fill up the bowls — be drinking —

Tis cheering still woe or weal ;
Come pledge with lips unshrinking^

The dear— the belov'd O'Neill I

40 IRISH MINSTAELSY.

Ceil, poic, <^3UT <^ice<^T, ^'y ^\vch6. yui^in,

T 5^^^ ^^^ '^ ^ t^^^ ce<^chc *n <^ bh&il 5<^ch u<^ijf,

* # * # * •

1^31111 6ho-y<^n -jpe^xb^^, it le6|i b^mh pii 60 che<^T6<^T,

REMAINS OP CAROLAN. 41

Of blameless joy the centre.

Thy home thro* each night hath been.
There might the wanderer enter.

And there the blind bard Was seen :
There wit and sport came blended.

In careless song or merry tale;
But let my praise be ended —

Who loves not my lov'd O'Neill.

42 IRISH MINSTRELSY.

It 5jtu<^3<^ch 't ^r 3n<^oi6he<^Tnh<^il,
'X rvi l&i3ve<^6h T& ^ mh<kx^bh i^ip ci<i|i6e.

5o m-bubh bu<^n i '^xix T^^oshlAch 'n <^ t^^^^^^^j

Tpu<^i|i Te bu<^6h <^ni <^ n^iTih<^i6,

'5 & TCitip^^h, '3 & Ti3|ie<^b<^6h,
'5 & ni-bu<^U6h, '3 & UTC^^bh,

|7I&*T cloT6he<^inh no h6x:6. 'n <^ l?^nih<^ibh.

l)p<^Tn<^ich '3 K 3-cio|t<^bh, 60 1$ <^3UT b'oibhclie,
TVy hh^mife6Jbh ^x V^o^^ bhiom^^T^^^^ l&imne^ch,
^<^ c^ub<^ T^b 1pTon<^

T ^ Cub6i6 $3 p^dcon 60 bhtplix^bh.

REMAINS OF CAROLAN. 43

PLANXTY PEYTON.*

BY THOMAS FURLONG.

Let onr Peyton's health go rounds my boys^
For him be our bumpers crown'd, my boys.

Who has horsewhip and sword.

Or a cellar well stor'd.
When the foe or the friend can be found, my boys :
For Toby's the soul of sport, my boys.
His home is our gayest resort, by boys.

Where the toasts fly round.

And all care is drown'd.
In brimmers of sparkling port, my boys.

Then joy to Keash-Corran's lord, my boys.
Still sharp and bright be his sword, my boys ;

And thro' life as he goes.

May each hour that flows.
New feelings of pleasure afibrd, my boys :
On his steed may he swiftly steer, my boys.
When the upstart Saxon is near, my boys ;

And often and long.

Amidst jest and song.
May we gather to taste of his cheer, my boys.

44 IRISH MINSTRELSY.

^l3ut b^\^ liom -p&n sup ch6i|i pn,
^<^ik^Tn CjioTpcon thu5<^ch, 3he<^n<^Tnhuil,
be^n le'fi bh'ionnihuiTi ce6l.

'y 1 bo Iton-jx^bh <^n 6|i<^ni 6<^iiih

3<^ch ^bhce^ 3<^ch u<^i]t ^'x 3^^^ ^^n ce<^|ic,
le<^Tibh 6e^r n<^ 3-c<^m-6hKoi6h

|7l<^li c&, bedbhe Thfeimh tk^ s-cfW^^bh-ipholc Ti-5<^ichce,

It 3e<^l ^ plob 't ^ bp<^3h<^i6 bhil.
It ie<^T ^ i^ub, T^rnih <^l«^c^, 't ^ b^P1P<^ibh P^ C<^bh<^,

REMAINS OP CAROLAN. 45

MADAM CROFTON/

BY THOMAS FURLONG.

With delight may I praise a fair dame that is dear
To the lovers of music^ of mirth, and good cheer;
'Tis my joy in each change the fond theme to renew,
From thy bard, lovely Crofton, this tribute is due,

This tribute is due.

Sweet dame of the brilliant and soft curl'd tresses.
Whose hand with the goblet thy minstrel still blesses ;
Young, gentle, and generous, and sprightly, and kind.
All faultless in person, and spotless in mind.

And spotless in mind.

How blooming thy cheek, thy young bosom how fair.
How rich the long locks of thy beautiful hair ;
That neck so proportioned, so snowy in hue.
And the smile that each spirit can soothe or subdue.

Can soothe or subdue.

46 IRISH MINSTRELSY.

Ci^ilvn b^i6he<^ch, C|t?^i6hbhe<^ch, cliiice<^ch^
\)e^r\ le'p bh-):e&|t|t-6e c^iftbe Thii3<^ch 5

bhei6he<^T <^ choibhche '3 ^ coip.
Uch ! IT fio|i 3U|t n<^€mhch<^ ^r\ bume,

'Tf <^n qifeh bhei6he<^T becibhe 5he<^n<^Tiihml pnce <^fi
le<^b<^
Y&bh<^il be ^^iji <^n scupU c-t&imh 3<^ch otbhche <^'r
3<^ch U.

REMAINS OF CAROLAN. 47

May the gay lovely Bessy still sit by thy side.
May thy spouse ever smile on his beautiful bride
As a friend ever dear, ever lovM as a wife :
Oh ! pure be thy pleasures, and long be thy life.

And long be thy life.

48 IRISH MINSTRELSY.

piAnnb^ leinbh n<^ nnn-chpobh in-b^n ;
'y M 3[i?^bh \'x xf^^x ^^'^ Ti-u<^iyle shpmne, c<^itifi |Ti<^ific

6& Tn-bi<^6h <^Ti ii&TW-p Imn <^3 5<^o6hUibh Tn<^p bubh

<if]^ -ph^bi^iTK^olb-Tie C06U b'oibhche n^ 60 U,
^l rhuil bh|ie&3h, Tnh6&h'mh<^il, mhSfi n<^ m^^iye, bheilin
cheolTnh<^i|i, oibe 3<^ch cui3p,
phesibhe bhe^^r n<^ b-]i^|iUbh<^, yeun o|ic <^3ui- ^^h !

*Jl chuiiih<^il n<^ b-p|iipnnr<^ Tfii&inne^^ch, tub n<^ 6-qiillir

|71och lionc<^|i -ipion buinn, <^3ut bio6hm<^oT6-Tie choibhche
^ rl^ince '3 & h-6l ;

REMAINS OF CAROLAN. 49

PEGGY CORCORAN.

BY THOMAS FURLONG.

How happy the youth who can win the soft smile

Of Peggy the gentle, the lovely, the young,
The life of each circle, the light of the Isle,

The joy-beaming star of whom minstrels have suiigv
Tho' the Gael in their glory should start up again.

To strike the proud soul of the foeraan with fear ;
The chieftains, unheeded, might wait for a strain^

If Peggy, sweet Peggy, the charmer were near.

The nobles of Spain have been seen at her side,'

. They have paus'd in delight on her beauty to gaze —

But come, fill the wine, be the goblet supplied,

2\nd each string that I touch shall ring loud in her praise.

VOL. I. B

50 IRISH MIMSTRELSY.

"I^Ach nie<^n|i<^ bo'p ciTine<^6h <^n c-i(ile^c<^n leinbh,

')Pu<^i|t b^pfi x^^mW r\\ cpuinne, n<^ch 1 1^^ coinin<^T<^tche

Cjt<^$bh <^n {^i5h <^3ut 1 ^ bhlAich uile, 3|tu<^6h 5<^n pn^l
Y^ IT V'tme, 3|tinne,
2llub <^n c-Tem, <^ phUii|t n<^ n-5^o6h<^l, <^'t <^ n-u^^iTle,
c&le 6. ccuirnhne^^bh !
^<^ch pn pTtionnT<^bh<^ <^t 3<^ch |iei3iuiTi, ^ 3-c<^mp^ le
ch^ile,
Y<^oi*n ^in):hi|:i sho^l, Tb&mh r\A Cho|tc<^p&in ?

REMAINS OF CAROLAN. 51

Young branch of prosperity, blossom of bliss,

Bright cheek without blemish, fair form without fault.

If thy bard hath one task that is dear, it is this —

To name thee, to praise thee, sweet girl, as he ought.

K 2

52 IRISH MINSTRELSY.

0i5-bhe^n inhm, -f^ip ojim 6i6e^n, -p6il, ii<^ |-<^6il, ich ! mo
chup be'n c-i"<^%h<^l,
ly le^ji lioni TiK^p c<^o'ini cyte^fK^lc^^ <^3 <^ii Tn-b&]->

Tis r<Ci5he<^6^ibh 6e 60 shp^bh :—

^<^p 6(ibh|i^r l^c <^i|i ni<^ifeiTi, por v<^'ti n-5le<^nn,

*2l5ur iriT rfi TnhAi|i):e<^fe, i]- m^ feon lone}-.

Ir b|i6Ti<^ch ^ c<^oiin ^'x coice<^|i, fe^och<^ch 5<^n bhplsh
|7l<^|i bKi6he<^r 5<^ch uile 6huine ^j eoUr ti<^ r^sbe,
t|<^ch me t&moU6h c|iuicbTie<^chc' ^p-bhuibhe <^ii jiishe;

REMAINS OF CAROLAN. 53

JOHN JONES.

BY THOMAS FURLONG,

Oh ! fair one relieve me — come ! pity my pain,

'Tis thine to restore me, then fix not my doom ;
Struck, tortur'd, and wounded, I mourn here in vain.

For helpless despondency points to the tomb.
Oh ! think of thy promise — but promises fail —

Yet if one gentle feeling thy bosom still owns.
Bring back the sweet moments we spent in the vale ; .

Restore them ! or death is the choice of John Jones.

Dear maid of the brilliant rich ringletted tresses.
How gloomy each scene in thy absence appears ;

Thy presence no more the fond wanderer blesses.
No more thy soft voice he exultingly hears.

54 IRISH MINSTRELSY.

C^ cu binn, yus^ch, 3e<^TK^Tnh<^il, spinn.

It di inK^nn 3<^ch m^iTe, ly cu ]tiA|i s^ch 'pU^ch<^,
71 prsh-bhe^n, ly le<^c <^n c-(ibh<^ll 3<^n |i<^tnTi.

6<^p An bomhiK^ich, m^ 3hrii6hiji, bi<^&-T<^ 30 bji^ch,
71 5-conih3<^p nA x^5^^ ^^P ^ iii-btbhe<^nn <^ti cojinii^n

|Vlo Iwbhe^ TOO Thm&he, too Tbe<^T^Tnb, <^3 ^ire^chc tk^

')P<^i|ie ! ip<^i|ie ! -puc, <^ TOh<^i5hbeAn bhiln,
T 5^ TO-beibhmn-Ti qii olbche A3 61 pnce Aip ycol,

Chu3hA6 CA3A1TO 6ch ! 30 m1n no 30 toAII,
^l3UT nAch Aoibhmn An iphAlll,

'll rl^iuit, pAch|:Ainn leAc A nun cA|i An 6-coinn.

REMAINS OF CAROLAN. 55

Thy charms, the charms of ail others outshine.
They might touch the proud bosoms of kings on their
thrones :

Oh ! lov*d one, the world of beauty is thine.
Thou hast humbled and broken the heart of John Jones.

Yet fairest depart not, I still shall pursue thee.

Like echo attending the voice whence it grows ;
At dawn, and at dusk, I will watch thee and woo thee,

Nor rest in the moment that brings thee repose.
In crowds and in loneliness still I'll be near thee.

For still this fond heart thy supremacy owns;
In silence and absence I'll think that I hear thee.

Then dearest come, come, to thy lover John Jones.

56

IRISH MINSTRELSY.

T 3"P b't nu3 b&|ip A 3-c<^il 't <^ &.cui3pn
lUn inhn<^ibh b|ie<<3h<^, slice nd 3-cui3e<^6h :
Ck^ b'e bhiA6h r\^ h-<^ice fe'oibhche 'r fee 16,
4li b<^%h<^l 60 -p^^fe-clmipTfe choibliche r\K h\von,
7ls ^r\ |ii03h<^n c-r&mh ly <^oibhne meinn,
T 1 cai n<^ 3.cn<^ebh 'r n<^ bh-i:^inne<^6h<^.

^l cAebh inAyi <^el, 'r <^ piob in<^p sh^iy,

T <^3»i<^otin<^yi3hyi^in ^n z-x^mhji^ibhy

t)<^ch c<^|x^ifeh bho'n c-^ fe'^ii 3e<^lUfeh ttk^ji rpp^ibh

bhach <^ici-p, 3&U3 n<^ 3-c<^m.6liUoi6h :

Ir rw^^ipc 'r ir r<^nih 60 p^ibhce 3e<^n<^Tnhml,

Ir <^lmnn, 6e<^|- &o rbfiil 3hUr,

T e chluinim 3<^ch U <^3 c^ch '3 i^ Aichpir,

Sup v{^iTine<^ch, c^i" 60 ch(il z^^x,

REMAINS OF CAROLAN. 57

GRACEY NUGENT/

BY THOMAS FURLONG.

Ob ! joy to the blossom of white-bo8om*d maids,

To the girl whose young glance is endearing.
Whose smile, like enchantment, each circle pervades.

She who makes even loneliness cheering.
Oh ! he that beholds thee by night or day.

He who sees thee in beauty before him,
Tho' stricken and spell-bound may smile and say.

That he blesses the charm that's o'er him

Her neck is like snow — rich and curling her hair.

Her looks like the sun when declining ;
Oh ! happy is he who may gaze on the fair.

While her white arms round him are twining :
Her words are all joyous — and mildly the while

Her soft blue eyes seem glancing ;
And her varying blush and dimpled smile.

With those eyes and tones are entrancing.

58 IRISH MINSTRELSY.

ydb m^n 6i beniim leij* ^n oi3-mhn<^oi c-yemih,
bh-fuil ^ 3l6|i m 'x binne 'r\K ceol r\^ n-eun,
^'l p^nx Ti<^ 3jie<^iiTi 6'<<|t fmuAtnish ce^nn,
^<^ch bh-'p<^3hch<^|i 30 cinnce <^3 5n^^-
*Jl Itib n<^ yeub, It blaich-bhei^T b^b,
71 chuil n<^ 3-citA$bh 'x ^^ bh-|:^iTiTieA6hA,
3i&h lonmhuin liom -p&n chu, iT<^6Aiin 6e*n TSetil;-
7lch6 6'$lTp<^inn 3^11 bhjiei3 bo yhl&ince.

REMAINS OF CAROLAN. 59

Then joy to young Gracey, the gentle dame,

'Tis bliss on one's pathway to meet her ;
Where ! where's the proud spirit her voice cannot tame ?

Oh ! where is the sound can be sweeter ?
Tis soothing the song of the birds to hear —

But her tones are yet more thrilling ;
But Where's the bowl ? — let the bowl be near.

And I'll finish the theme while filling.

60 IRISH MINSTRELSY.

Ci<^ b'^ bh-vuil ye ^ n-6&n 60,

01 U^Tnh-6he<^T bhach p<^oi n<^ ceAim,
ly beimhin nAch e<^3<^l b^|* feo,

5ob|i^ch r\^ 'n <^ bheo&h bheich nnn,
71 chuil bheif n<^ in-b<^ch<^ll bh-'F^iiine<^ch, bh-i:ionn,

71 chuim in<^|i <^n C^llA <^3 -pii^mh^feh <^i|i <^ti b-colnn,

Che<^llAi3h,
&6ub ly 6ei|*e le<^3<^bh <^nn ^^puf <^ ceinn.

<HVl ce6l 6'^ bhinne -por 6'<^|i reinne<^&h,

^i^'|i'^'^'^^^3^^^'^ 61n-p chui3pri *r<^ P^ih <^Tin 3<^ch ceim
71 3pu<^6h ni<^p |i6|* <^3 6|iichle<^bh, it bu<^n 'n A 3-conih<^pT<^
<^n lile,

71 poY3 IT niine, 3l<^iTe 'n<< bl&ich n^ 3-ciK^ebh :
'X 6 6eip ollbh^^mh Tnollc<^ chl&i|iThil ^^lU,

50 3-cui|i'Fe^6h ti<^ co|ip<^bhd chobU^ le T^p-3huich ^ beil,
^i1 <^nih]iuT <^Tin <^ T^^l bhite&sb, loniK^ch,

7lchc $lc<^|i linn 30 3iiinn bo Tbl^mce nih<^ich -pem.

REMAINS OP CAROLAN. 61

MILD MABLE KELLY/

BY THOMAS FURLONG.

Oh ! blest is the youth by kind fortune selected.

Who clasps to his bosom my own blushing maid,
By him may the warnings of fete be neglected.
Nor sickness nor sorrow his joys shall invade.
How richly, how softly thy young tresses fall, —
Thy shape seems more light than the swan's on the
wave,
The love, the delight, the gay idol of all.

The spur for the sluggard — the spell for the brave ;
Oh ! mild Mable Kelly, how lovely art thou.
Thy skill in each strain let the minstrels avow —
Thy soft cheeks disclose
The raix'd lily and rose.
And thy breath comes like blossoms just plucked from
the bough.

The bard of the chieftain— the bard of O'Neill-
Will say that thy song seems more sweet to his ear,

Than the murmur of waterfalls heard thro' the vale,
When the heart-parching heats of the summer are near.

62 IRISH MINSTRELSY.

fVle<^T^im n<^ch bh-^ruil 'n A n-J^ic Asuinn

*2lchc |71<^ible le clu <^nri 3<^ch ceim.
*JlnnTfAchc 3<^ch buine A 3-c^ilfthe<^ch6 't ^ 3-cgill; —

Ir &3hnihA|i 6o'ti bli plibh <^ ):^3hAil 6'& n-beiy,
Cul n<^ 3-cjiAebh ii-Tpiiine, Itib n<^ 6-ceub it binne,

ynuAbh n<^ 3eiT^ 3il€, <^ bpR3hAi6 A*T <^ c<^ebh.

4l"il Aen 6'?w bh-'f:eiceAnTi <^n c-y^oi-bhe^^n mh<^iTe<^ch,

^<^ch ^ip3Ki6he<^nn n\^\i n<^ 3alCTbh, A m -b<^pp<^6h<^ibh
11A 3-cji<^febh,
IVx <^Ti c-e n<^ch l^uji bo <^n choin3eAl, 1<<ti 6e T^ti* <^n *
leinbh.

If ipe<^|i|i cfiei3hche <^'t cui3p fehe n^ipun 5<^^^^<^^ • —
It fi IT beii-e coj*, b<^T, iJ^mh <^3U|- beul,

Pei3h|ie por3, A']- ^olc <^3 v&r ^1 3<> V^up,
C^ <^n bh<^ifie-p Itnn <^3 T<^jiu3h<^6h luch6 3iieinii,

T^ l^bh 30 bh-'puAi|i mS An -phAill, ly &3hmhAp liom e.

REMAINS OF CAROLAN. 63

Ob ! gaze but for once ! — ^in that soul speaking eye —
Shew ! shew me the spot where suspicion could reign ;
But come ! fill the glass^ fast around let it fly —

And here's mild Mable Kelly again and again !
There were maidens all lovely, in days that are o'er.
Whom the warm and the young might to madness adore;
But there never was one.
Whom the sun shone upon,
That could match Mable Kelly the light of our shore.

Oh ! who can behold this young flourishing flower.
And still in dull soul-sinking coldness pass on ;

Even he doom'd (o blindness till death's dreary hour,
Must own all her beauty till feeling is gone.

Qh ! fairest of maidens — gay flower of the Gael !

' All bright is thy fame o'er the bounds of the land !

But here stands the bumper — and ne'er may we fail
To pledge the mild Mable with heart and with hand.

Till life's latest moment how blest shall I be,

To sing, oh ! my mild Mable Kelly, of thee ;
And proud may I deem
My heart-soothing theme.

For the praise of the loveliest falls upon me.

64 IRISH MINSTRELSY.

6^ m-b&bhinn-ri ^ muich <^ 'n-1lp<^inTi,
<^S A' n.3<<|i-3hle<^nn n<^ ]-eu6,

fVI<^]t <^ n-3luAi|-e<^Tin s^ch r^p-lons
le cUip&t) <^'t le m^b,

Cu|)<<n 3e<^l UT h.e<^3hn<^

C<^b e b'<<ill liom '3 ^ chup <^ 3.ceill,

'V <^ lic^chc ai3h m<^ith 'n <^ fchei3h,
'Ts^r^ ^'^ i^^^n ollbh^mh nA h-^ice,

6<^|i mo Hsnih'X^ lii b|i$u3,
Choi[i6he<^lbh<^ich bhtiK^in ^3h<^mh<^il,

C<^fi|i qi^ch TfX^o'T mo bh^in,
50 n-olip<^m <^i- <^n c-y^p-chufK^n

yUlmce bh|ie<<3h Chem.

REMAINS OF CAROLAN. 65

THE CUP OF O'HARA.^

BY THOMAS FURLONG.

Oh ! were I at rest

Amidst Arran's green Isles,
Or in climes where the summer

Unchangingly smiles ;
Tho' treasures and dainties

Might come at a call.
Still, O'Hara's full cup,

I would prize more than all.

But why would I say

That my choice it must be.
When the prince of our fathers

Hath lov'd it like me :
Then come, jolly Turlough,

Where friends may be found j
And our Kian we'll pledge.

As that cup goes around »

VOL. I. F

66 IRISH MINSTRELSY.

|Vlo luishe 'x^n n.u<^i3h 'x 3<^^ cQmhb^^ch Tnn& ojim ):&n,
Yuil 's ^ T3<^oTle<^6h bhdmh-r^ <^ b-diir <^'r ^ ri-b«|ie<^bh

2Vx ^ InsHin (Tlhac yUibhne, ^ p(iin bhil, ci^iich<^i3h m^.

3hlu<^iTe^r *r\imr\ b^p liom ):^ 'n r|t&ch-To <^ n-bg,
Y&'n 5-c^l ch)to1in^ 50 dinnce b' &|ib wd l&im ;

Mo le<^bhiii^n sjilnTi ^^^nnxiJi ipiiLch 3<^ch rS&l,
Ir e<^3^l liom 3UJ1 mhlll bo 3li|i&bh-r<^ me.

^X binne ^ b^ul *n?L 3urh ti<^ b-c^ub A*r 'n{^ ti^ f^S^.
che$il,

REMAINS OF CAROLAN. 67

PEGGY BROWNE.

BY THOMAS FURLONO.

Oh ! dark ! sweetest girl^ are my days doom'd to be,
While my heart bleeds in silence and sorrow for thee :
In the green spring of life to the grave I go down^
Oh ! shield me and save me, my lov'd Peggy Browne.

I dreamt, that at evening my footsteps were bound.

To yon deep spreading wood where the shades fall

around;
I sought, 'midst new scenes, all my sorrows to drown.
But the cure of my sorrow rests with thee, Peggy

Browne.

'Tis soothing, sweet maid, thy soft accents to hear.
For, like wild fairy music, they melt on the ear — »
Thy breast is as fair as the swan's clothed in down ;
Oh ! peerless, and faultless, is my own Peggy Browne,

F 2

68 IRISH MINSTRELSY.

\X 3ile c^obh n& <^n edlA I'h&Tnli ch^bheAnn <^i|i linn 3<^ch

'5uT ^ nihdiTe<^ch, bUhij^ch, sh^ixd, c1i|teibhchedch n&
bidlcdibfi ni6.

6ul edb<^|i dn b<^i|i 't^ C|ioice^nn, 'yi wlieA|'dini 3U|i

citu^bh <^n c&m,

6ul e<^6<^ji m^ <^3ut itfim-The^jic ^"Sixx 3[t^bh mo chl&bh^

?li|i chuji wo l^mh chi^iji|i <^iit m^ibin le b&n(i3h<^bh ^n 1A6

"pu^ip m^ <^n iT<^|i<^'ibhe bubh ^3 3le<^c<CTbhe<^}ir le

^Sfi^bh mo chuTm.

REMAINS OF CAROLAN. 69

Dear ! dear is the bark, to its own cherish'd tree.
But dearer, far dearer, is my lov'd one to me :
In my dreams I draw near her, unchecked by a frown,
But my arms, spread in vain to embrace Peggy Browne.

70 IRISH MINSTRELSY.

Cediibh<^ll&n jio chdn.

5lt&6h 3<^ch 6uine <^'t ^ l^ii^bh it doibhne c&il
t^iTtih ^n Clinch i m-b'ipujiut btiiiin -pion fee -ph^shi^il.
If S&pch^ <^n chuibe<^chb 't <^n n-ionn<^b ^ m-bibhe^rin
bo 3h|i&bh.

Yji ho ! Tib & ^n p|ieAb<^i|ie, _

T)$ni bo 1 pUi|i n^ TS^TP^^pi^f^c ;
Tf^P^j 3le6bh, C0T3 ^\i n-^^icibibhe,

y^il, beoiji, ce6l <^3ut cedfk^ijiibhe,
CUi|iTe^ch, ^ibel^ip, 3&H1 ^3 Piob^^ijttbhe ;
'Y 6 Wwijie Chun]t<^ice fe, l^p <^ chijte 'T^3h
b^ftji-Thl^c 3h<^ilein3 i, 3|i&bh mo chitolbhe-T^^ leiT,
T^lt-mh^c b^ch^mhuil ^, od|tch^nn^ch, yiitnine^ch.

REMAINS OF CAROLAN. 71

GEORGE BRABAZON.

BY THOMAS FURLONG. .

Oh ! Brabazon, long may you live, brightly blooming,

Thou darting of all, easy, open, and free;
Thou guide of the cup, while Aie wine is consuming —
How happy's the circle that's favor' d by thee.
High ho ! he's the fellow that's hearty.
High ho ! he's the pride of each party :
In sport, and in mirth, and in feasting abounding.
The flower of Kinratty, where strings are resounding;
He's the top branch of Gallen, the joy of the ladies all.
First in the fight, and not last at the lively ball ;
The friend of all fun, and the foe of frivolity.
Jolly George Brabazon lives but for jollity.

High ho !

I would rather than Spain with her herds and her treasures.
Than Rome, where the steeds and the coaches abound;

72 IRISH MINSTRELSY.

b' Tp^M^ ^^^^ ^^ bSinl<^chc ^'y n& i\i jiishe n<^ y|j&iTiTie,

e<^ch|Mtfblie dsuj- ciitiiibhen <^ ]l$iTnlie ^'|- ^t\ ph^fk^ leiir>
'H'l* n^ bdnmin mheic Ce$|iuiT ^^Suy- <HSp<^ill mhac
|l^3hn<^ill,
bhach <^3 <^nih<^|ic dip yhe$i[iTe <^3 c^bhAi|ir Sip 'nd
mhi^nK^ibh u<^ibh.

1)1 ho I ynb^ ^n polU^ipe,

l)0Tii bS ! bubb-ifWAn buine T^^ot,
l)ini h<^Tii ! plAiH3iTibh meppimenc,

yin3, b<^nce, bpinc, bi|* 1ie<^lch <^bouc,
It fJLmh, IT TOiTie<^nc<^ $, cX T^ cuipt&TC<^c^>
'I* g bUich ^ cbmedbh i, pdch^^w b'^ bhfechche
leiTi
C&mce TonuiT <^ip, i^3b <^3UT oine^eh ^ip,
^l*T bi(pp w^ich uile.bhpe<<3h 30 b-cuinbh <Cip.

REMAINS OF CAROLAN. 73

Than Norrall and Duomore, with their sports and iheir

pleasures,'
To see thee again deal thy bounty around.

High ho ! he's the youth that is sprightly,
He smiles on the world, and looks on it lightly :
Then fill up again I see, our cups are all sinking,
We'll sing and we'll dance while his health we are

drinking ;
He's the boast of his race ! gentle, winning, and affable^
Eager for all that's good-humour'd and laughable.
To his mansion I'll go, where still pleasant I've found him.
Oh ! may blessings on blessings, for ever surround him.

High ho !

74 IRISH MINSTRELSY.

^l bh|ii3hicc n-ic ui ^h&ile, ^x cu Vifh^ wo chitot&he

C^ <^ji]U^in3e<^bh^ b&iT qi6 che<^|ic-lA|i wo chp^bhS,
r^ib n^ irfilce fe^qi ^ nsft^bh le riA h-^b^w chium^
n&i|te<^ch,
'1*50 b-cu3 V t^W b|teA3hbhAchr<^ dip cMp.ei|iill,

|^<^i&in chitiin^ che$&hwhd]i, b' &|i &|i3heAT 'f dn
bh-'|p$3hwhd|i,
Cid c^np^tfbhe Ann t^* \iib ojiw, Ache |t$|i sedl wo
chulw,
'l^ui^Hi bhe<^]tc we diji <^ cl$6h 3e<^l, 60 TS^itb^T T^^^
r-xpin^
^I'l" f uAip w6 qu p83<^ b'7^^lp <^ip wo iphAolshedl.

REMAINS OF CAROLAN. 75

BRIDGET O'MALLEY.'

BY THOMAS FURLONG.

Dear mHid, thou hast left me in anguish to smart.

And pangs, worse than death, pierce my love-stricken

heart;
Thou flower of Tirerell, still, still, must I pine.
Oh ! where my O'Malley blooms beauty like thine.

On a mild dewy mom in the autumn I rov'd,
I stray'd o'er the pathway where stray'd my belov'd.
Oh I why should I dwell on the bliss that is past ?
But the kiss I had there, I must prize to the last.

The sunbeams are beauteous when on flower beds they

play.
And sweet seem young roses as they bloom on the spray;
The white-bosom'd lilies thrice lovely we call.
But my true love is brighter, &r brighter than all.

76 IRISH MINSTRELSY.

4|T1 jieAb <^ni bich ly inline, 'n^ SpK^n oy cionn sJ^ijifein,

'I* T\\ \(Sx^ bpe&3hbh^ b'^r^^^l* <^ni<^ch <^t <^n 3-c|i<^oibli :
^^|i fub d bKi6he<^|- mo 3h|i<^bh-T<^, le beiye 't le
b[ie<<3]i^elic,
^l chdil chiui3h n^ bh-p&inne<^bh<^, bb-ipuil mo sheAn
o[ic le bl1^bh<^in.

bu<^ch^ill be^x ^5 ^^f ^^ qti^ll chum mo phoird,

^^ bu<^n <^ bh-Tp<^b beobb me, mun<^ bh-]p<^3li m6 mo
mhK^nn :
^l chuiifle ^'x ^ F^p<^ch! ip^S^ p&bh <^3Ui- bibh ji$mh<^m-

50 bei3heAn^ch bi<^ bomhn^ioli <^i[i bhoich|iibh ]l^di-
li<^mh.

Ij- me-p t^ T^loj-, leiy <^n b-p$|-<^fo bb^iK^bh 5

^ chobU^im ^n olbbche <^chc <^3 opi<Ci3hioll 30 cjiom; —
^^'\i vb^3bh^ibh me 6a\ t<^%bM-p, 30 m-b&bheAb ^'x ^u,
chS^b yhe<^[ic,
^lift le<^b<^ cbluimh ^{^TilAicb ^*x ^^ ^^^^^ 1^<>« ^0
chei^nn.

REMAINS OF CAROLAN. 77

I'm youngs and a bridegroom soon destin'd to be^

«
But short is my course, love ! if bless'd not with thee :

On Sunday, at dusk, by Rath-leave shall I stray,

May I meet thee, my sweetest, by chance on the way.

In gloom, and in sorrow, my days must go by.

At night on my pillow in anguish I sigh ;

Hope springs not — ^peace comes not — ^sleep flees from

me there —
Oh ! when comes my lov'd one, that pillow to share.

78 IRISH IftlNSTRELSY.

Ce<^|tbh<U;UUi ji6 ch^n.

6& bh-i:eicipe^-t<^ ye&3h^n 5'^T* ^T ^ ^i*^ chum ^n {^^^ich,
71't 3n^^^ 3^ch leinbh <^ Tn-h[iollAch d leine ; —

*X e beiji he^n 6'& bheiTe, b'& b-i:eiceAnn ^ n-&n]pheAchc,
5ho bh-p&sh m6 mo mbille^bh ! sup b'6 fub mo ch^le;
2l'r,<^ ch<^ilineAbhAdn c-rl6ibh',pn dsdibh ye&sh^^n

<Hi fi3bbA[i 3<^n bilnc<^ibb, tii cl&niTedch 5<^n c^ubAibh,
^'l e<^Tn<^bh <^nn d chn&mhAibh 3<^n be&itn^bh le

b}t^3<^ibh,
4l?l <^nn <^chc i:Am<^i[ie 7^&ndeh, <^ f^sbh^^bh 3^11 ch&le,
1^^ bh}tiTceA|i ^ chn&mhd^ ml Tp^ch bho '3 & fhSunAbh ;
7Vy, ^ ch6Mne6iih^ dn c-rleibh', pn <;3Aibh
lfea3h<^n Sl^r-

REMAINS OF CAROLAN. 79

SHANE GLAS.*

BY THOMAS FURLONG.

Have you gaz'd at Shane Gias as he went to the fair^
How lively his step, and how careless his air.

With his breast full of favours from many a lass;
Oh ! there's not a sweet girl that appears on the green.
But simpers and blushes wherever he's seen ;
They cry he's the boy, our darling and joy.
Still ready to sport, or to court, or to toy.

Then maids of the mountain there's for you Shane
Glas.

Without verses, no poet can boast of the name ;
Without music, no harper the title can claim —

No lover, thro' life, without quarrels can pass 3
The gallant whose head is not smash'd for the fair.
Is a boaster unworthy their favours to share :

80 IRISH MINSTRELSY.

bK bh-|:eic):e&-ir<^ ydllibb, ^'x^ bul chum 6j\ ^Jen^^ch,
l)ji63<^ Sdichcc uipchi, ^'x <^pn«iTi 3l^i3e<^l,

7Vx, d ch(^iline<^bh<^ <^n c-yleibh*, x^n <^3dibh
yei^3b^n S^r-
*X 1 ij- T(^mh<^il bt bh^Tiut, 36^3 Ti<^ poy3 n^l^x

IVX9 ^ ch<^iline^bh<^ dn c-vleibh', rin <^3^ibh
ye<^3]i<^n 5Ur-
&^ cKfoch cb|iuinne, n<^'|i ]pionn<^b]i *x ^^V 1P^uch<^bh,

*2l 6hi^ ! 3<^n me-p <^3ut i-y-e n-&nTphe<^chc,
71 b-com n3U^|' ccille, 30 n-bfe^nY:<^Tn<^oiT p&bhce<^cli,
21 c1i<^p(^ mo chjiolbhe ! n<^ch 6j\r\ pn bo bh&bhe^bh <^n
yule ?
7Vx, A eb<^itine<^bh<^ <^n c-xl^bh', pn <^3<^ibh
Tei<3h<^Ti 5Ur.

REMAINS OF CAROLAN. 81

Then Shane is the lad, that his bruises has bad.
For the girls and drinking have made him half mad.
Then maids of the mountain there's for you Shane
Glas.

Have you chanc'd on your way handsome Sally to meet.
With her gown snowy white, and her nice little feet.

When she's bound to the fair, or returning from
Mass;
With her smile so bewitching, her glances so bright.
And her bosom Si> temptingly fair to the sight :
Oh ! might I but find, the sweet girl to my mind.
In yonder green holly- wood gently reclined.

What joy would it bring to the heart of Shane Glas.

VOL, I.

82 IRISH MINSTRELSY.

Xe6m^X $3 piuinc^cc, b|ionfit6i|i <^n TphTon^,

5iAfcb TiA fn*b<(n n-$3 €, <^n c-6i5-iphe<^ii sU^n, TA^che<^-
inh<^il.

5u<^ilie ilTo[t chu3 bu<^6h {^iji, <^' Ti-u<^i]"le<^chc A
bhe<^[tcAibh,
50 m-bubh Y^6A T<^%hl<^ch, be^bh $, 3<^n hh\(6n ]<^i|i bich

REMAINS OF CAROLAN. 83

JAMES PLUNKETT.

BY THOMAS FURLONO.

Oh ! where shall thy like, my lov*d Plunkett, be found.
Thou soul of each circle when mirth reigns around, —
Let the learned thy skill in each language declare.
While fond sighs speak the feelings and thoughts of the
fair.

Oh ! kind is thine heart, as each tongue can avow,
In sports and in pastimes unrivaird art thou ;
Long long be thy days, and unclouded by care.
And plenty be thine — that of plenty can share.

Say who has not heard of mine own favor'd youth.

The lov'd one whose looks beam with genius and truth ;

Oh ! many is the maiden, and beauteous to see.

Who pines all in silence, my Plunkett, for thee.

G 2

84 IRISH MINSTRELSY.

Iln 3-cu<^lAi6h pbh qt&shdie ^n u|t$un-fnhd|tc^ich
Th(i3<^ich,

UiuhTnh<^|t ; —
*Y e b(ibh<^ific: 3<^oh ni<Ci3h6e<^n bh&it<^ch, w-biobh n<^
c^u&A bhi <^3 (iTnhlii3h<^6h,
|7lo leun ! 3<^n m^ ^*y rii, Tn<^[t <^^n <^i|i ^[t Ti-3liiinibh.

^I'l Tin mAl3hbe<^ii bh6uT<^ch, i Cipne 30 5<^illibh ^^m^^ch^
6& 3-cuAl<^i6h (tK^mh ^ ch[t&6he, n^*|i mh^inn le^
bhauh *fi-Aice Te<^l^
^l 3-c^llCTbh l}huin-<^fi-|:hio6^in c^ <^n ipuititi^TK^chi
b|te&3h, pine<^nc<^^
^he<^ll>:<^6h nd c<^ilinibhe <^i]i ch(il nd 3-C|iAoibhe<^ch<^.

REMAINS OF CAROLAN. 85

Not one from Loch-Enie to Galway around^

But longs for my hero ! my swain so renown'd ;

Thy groves, Buninedin, are shady and fair.

They are bless'd and belov'd — for my Plunkett is there.

86 IRISH MINSTRELSY.

5<^fi 3hiiuAiin <^'r <^bhn{^ipe<^ch 60 3hn(iii- bhiie^^sh, d [luin !
Yuil 3hUr <^3 3&itte<;bh, 6*(i|i-le<^c<^ ir &ilne,
yd^ le<^c TK^ c^mce, <^ 3h[t&6h bhil, <^3 mGch 5
T 1pioit'6be<^r ^<> 3b»i<^oi 3hUn, if le<^bh<^i|t 60 phtob 3he<^l,
'X cui|te<^bh n<^ milce le^z fince <^nn i*<^n n-ui|i !
'Y ^^ rS^^"'^!*^^^ S^^'^ b&che, <^ chuil ch<^iT n<^ 3-cii<^$bh-
Tpholc,

bhpei<3h, chiuin.

'Y 1pollux'<^ch Y 11* l^uft^ ojTK^bh <^ 3-c[toi6he 3<^ch 6h\y
X)\\}b\\e6a\r\ <^3 Amh<^iic TcSirnhe 3he<^U}i%ilnofin nA Tn-b<^n ;

REMAINS OF CAROLAN. 87

NANCY COOPERJ

BY THOMAS FURLONO.

Oh ! lov'd one how temptingly fair is that face.

On which thousands have gaz'd but to sigh ;
How winningly smooth seems each motion of grace.

When thy shape of soft brightness glides by :
Tho' some in thy absence a throb may excite,

When near thee their triumph is o'er.
They shrink in thy presence — they fade in thy light.

They droop and look lovely no more.

Those brilliant grey eyes with these tresses all curl'd*
That bosom where love holds his throne ;

Dear ! these are thy dowry for what were a world
To him who could call them his own.

88 IRISH MINSTRELSY.

'X fee<^r ^^ ^^^ 'T ^^ \^rY\h, ^x ^e6X bo bhpollAch b^n,
Och ! 'x cu loc 't 60 chpi^bh, r\^ ceu6<^ 1A^)i nie<^fi !

^ z^td ct&ich c<^ii-<^ '6 tnheinn,— <^chc 'y h^e\r\ b^mh-x^

Xz^b;
'^^oiT, ^ chuib *!• <^ 3h|i^6h, mo bhe<^nn<^chc le<^c 60 shn&ch,
'Zl ^<^nfi6h Coope|t bhpe&sh n^ ni-b^ii-cliioch n-6e<^T»

REltfAINS OF CAROLAN. 89

Of millions the beauty seems blended in thee —

But why on this theme should I dwell ?
Thro' life there's but sadness and silence for me —

Farewell! Nancy Cooper! farewell!

90 IRISH MINSTRELSY.

Wo6h uile <^ n-&fi-|phe<^chc^ <^* n-<^&i-bheipdin |ioiirih<^in-T<^,

|7l^i|ie 6'n n-Cipne <^'r m^ bhach '5 '& |i53<^6h.

If cuipfe^^ch, nnn, qi&ch-U^s me ip&Ti s^ch qii^chnon<^,
'Y <^i|i Tn<^i6iTi <^3 &|i3hi6h, Tn<^|i 6'6<^3 u<^ini mo nuAbhch<^|t^
6& bh-v<^3hAmn A noir qi6u6<^ 'r 3<^ch r<Ci6hbh|ie<^r b'K\i

noT<^6h,
^ 3hlAqK^mn 'n ^ 6ei3h-'pn <^efi bhe<^n le |j6T<^6h.

REMAINS OF CAROLAN. 91

CAROLAN« MONODY ON THE DEATH
OF HIS WIFE MARY MAC GUIRE/

BY THOMAS FURLONG.

Were heaven to yield me in this chosen hour.

As an high gift ordain'd thro life to last.
All that our earth hath mark'd of mental power.

The concentrated genius of the past :
Were all the spells of Erin's minstrels mine.

Mine the long treasured stores of Greece and Rome-
All, all with willing smile I would resign.

Might I but gain my Mary from the tomb.

My soul is sad — I bend beneath my woe.
Darkly each weary evening wears away ;

Thro* the long night my tears in silence flow.
Nor hope, nor comfort cheers the coming day.

92 IRISH MINSTRELSY.

^13 Si le 3<^ch cj<6dn-'plie<^ii, bWbh &ipe<^chcAch, ceSlmh<^p,
Y^3bh<^6h *fi A 6h&3h-pn, le^^m y^n me 30 b|i$fi<^ch,
*2l Ti-6ei[te<^6h mo xh<^e3h<^il, 'i* 3<^n mo ch&le bheich be$&h
d3Am.

|7I' Incle^chc mh<^ich, <^%<^h, n1 |:h^u&Aim ^ cumhb<^ch,
|7l'1finnn, 'r\ ^ 6h&3h-pn, if I6u|i 30 bh-puil |7ii(iice<^ch,
50 beimhm <^'6 bli&3h-p, m pheu&Aim bheich Tii3<^ch,
^l |7lh&i[te TK^ c&lle, <^nfi i-An c-i-<^%h<^l bhibh 30 cKiice^^ch.

REMAINS OF CAROLAK. 93

Wealth might not tempt — nor beauty move me now^
Tho' one so favourM sought my bride to be —

Witness, high heaven ! — bear witness to my vow —
My Mary ! death shall find me true to thee.

How happy once ! how joyous have I been^

When merry friends sat smiling at my side ;
Now near my end — dark seems each festive scene —

With thee, my Mary, all their beauty died.
My wit hath past — my sprightly voice is gone.

My heart sinks deep in loneliness and gloom, —
Life hath no aftercharms to lead me on —

They wither with my Mary — in the tomb.

94 nUSH MINSTRELSY.

or cio<h^ u^iis?) MT)eic 7i]\).

^<^ch 1 p <^Ti chu<^itu: e<^Tb<^6h<^ch, 60 l^3<^ibh me ch'|teii-

mo |*hitib)i<^il !
*2lip u<^i3h mo ch^fK^ib; 'x ^« T<^lc<^6b ii<^ n-b^p 30 h-u|i ;
4l1 bh--|pu<^i[t mi <^3<^m mo ch<^ichne<^mh, A\ |i<^6h<^pc mo

Thai;

bhibh ciimhAn3.

^ qt^n me <^' Ubh<^ittc, 'y ^^ mhe<^i-<^im 3U|i cuif n<(i|ie,
If c<^t6he<^n bhochc rcoichre me, ch<^ille<^i- wo ch(il
bi^itte,

4li'l pein, nia pe<^n<^i6, nia 3<^Ui|i chomh e|iu<^6h, cii^ibhce,
le h-e<^3 n<^ 3-c<^|t<^6, "n6 rc<^p<^6h, ik^ 3-c5mp<^n<^ch.

REMAINS OF CAROLAN. 95

CAROLAN'S LAMENT OVER THE GRAVE
OF MAC CASE/

BY THOMAS FURLONO.

Oh ! what a baffled visit mine hath heen.

How long my journey, and how dark my lot ;

And have I toil'd thro' each fatiguing scene.
To meet my friend — and yet to find him not ?

Sight of my eyes ! — ^lost solace of my mind I
To seek — to hear thee— eagerly I sped ;

In vain I came — no trace of thee I find —
Save the cold flag that shades thy narrow bed.

My voice is low — my mood of mirth is o'er,
I droop in sadness like the widowed dove ;

Talk, talk of tortures ! — talk of pain no more —
Nought strikes us like the death of those we love.

96 IRISH MINSTRELSY.

lAo bhjiSn ! mo mhille<^6h ! mo rhmne<^T 'x ^^ blm<^i-
6h|te<^mh c[t<^rh !
60 che$l-ch|imc mhilif, 3<^n bhmne^^T, 3<^n ru<^ittce<^r

Ci<^ bh^ni^^l" <^ice<^y bo'n 3h<^|-ii<^i6h n& ce6l 50 bu<^n^
Of ipiO[t, <^ ch<^ii<^i6, 3UJ1 le<^3<^bh ch(i <^ 3-c6mhii<^

C[t<<ch &[i3hT6him ^^ip m<^ibin, <^'t 6he<^[tc<^im <^n eT[t |:<^ot

|Jl3ur r^uTbhim <^ip n<^ cnoc<^ibh, 30 bh-):eicim ^n iubh

^l 'Jl&i-mheic ^/lhul|te ! Tpupc^^ish bo 'm ch^y ^'X pi<^P !
T 3<> n.be&[tn<^bh loch pU, be <^mh<^iic mo yhul <^'b
bhi<^ibh !

REMAINS OF CAROLAN. 97

MAC CABE'S ELEGY ON THE DEATH OF
CAROLAN.

BY THOMAS FURLONG.

Woe is my portion ! unremitting woe !
Idly and wildly in my grief I rave ;
Thy song^ my Turlogh, shall be sung no more —
Thro' festive halls no more thy strains shall flow :
Ttie thrilling music of thy harp is o'er —
The hand that wak'd it moulders in the grave.

I start at dawn — ^I mark the country's gloom —
O'er the green hills a heavy cloud appears; —

Aid me, kind Heaven, to bear my bitter doom.
To check my murmurs^ and restrain my tears.

Oh ! gracious God 1 how lonely are my days.

At night sleep comes not to these wearied eyes,

Nor beams one hope my sinking heart to raise —

In Tnrlogh's grave each hope that cheer'd me lies,
vo^. 1. H

98 IRISH MINSTRELSY.

2I3 luibhe 6h<^nih <^i|i mo le<^b<^bh TK^ch 3-cobl^nn mo
fhuil <^6n n^ull !
C&ib pi<^Tic<^ be^C[i<^ch' bul c^^piTiA qi6 iXp mo chl&ibh ; —
y ^ Chont6he<^lbh<^ich ui Che<^pbh<^lUm, 'r biombi^ibh
liom cfj finnce 3-C|i$ !

5uibhim-in ^l^^omh 6oimmic, ^<^omh P|iomp<^T, <^'|-

<fl<^omh CUiK^,
^f rK^ h-iliom<^6 4l<^otmh, ip<^oi bhibhe^^n n<^ c<^clnt<^ch

ne^mh6h<^,
"P^ -ph^Lilce rh<^bhAi|ic 6* <^n<^m Choipbhe^^lbhAich Min <^

'X A iK^chc po|!C TAoirhe<^mh<^il 60 Themn 1^ <^i|i <^n
3-cUi|tp3h.

REMAINS OF CAROLAN. 99

Oh ! ye blest spirits, dwelling with your God,
Hymning his praise as ages roll along.

Receive my Turlogh in your bright abode,
And bid him aid you in your sacred song.

h2

NOTES.

NOTES.

WELCOME TO CAROLAN.

* James Courtmet, better known to the Irish reader by
the name of Dall M'Cuairt, the author of this Ode, was a
native of Louth, and an Irish poet of repute in the days of
Carolan. Several poems of his composition are preserved in
the manuscript collection of the editor. Many of them are
possessed of considerable merit, and highly deserving of
publication.

' '* From the mansion of Meavi.''
A celebrated queen of Connaught, and one of the heroines
of Irish lore. She flourished about the beginning of the Ghris-
tiaa era, and was co-eval with Connor, King of Ulster, (who
reigned in the palace of Emauia, which was situate about one
mile west of the present city of Armagh,) Cuthullin, Connali
Kearnacb, Fergus Mac Roy, and other heroes famed in our
history. — Mr. Macpherson in the beautiful, but supposititious,
translations from his imaginary Ossian, makes CuchuUin, who
died in the beginning of the first century, cotemporary with
Fingall who died in the third. Yet these " translations*' are
quoted by Mr. Pinkerton and others, as true history I

104 NOTES.

' " OrgiePg Jhwery JieUt^*'
Orgiel, Oriel, Uriel, an ancient territory, comprehending the
present counties of Louth, Monaghan or Mac Mahon's
country and Ardmagh. — Ware.

^ '* Tara1C9 embattled pUe?'
Tarah, or Teamor, was the royal seat, and court of legisla-
tion of the kings of Ireland, until about the year 5G0. The
edifice was erected on the well-known hill which bears its name,
in the county of Meath, where there are yet to be seen remains
of several circular entrenchments, or foundations. We have
more than once walked over this venerable spot, so famous in
Irish classic lore, with sensations which it would be as difficult
for an Irishman not to feel, as for an Englishman to estimate.
It is related that his present Majesty, during his visit to Ireland,
passing in view of the hill of Tarah, declared himself proud of
his descent from the ancient Monarchs of the land. Such a
declaration was worthy of a king, and complimentary to a
faithful people.

« " The four NialU."
Monarchs of Ireland, The first surnamed " of the nine
hostages," commenced his reign, A. D. 379. The fourth fell
in a desperate conflict with the Danes, A. D. 919.

« " Con and Cormac of regal birth.'* .
Also Monarchs.— The first is well known in history by the
appellation '' of the hundred battles/' The last assumed the
government, A. D. 254. He combined the study of philoso-
phy with the cares of government. Some of the writings of this
heathen prince are still extant.— See Anna& /F. Masters, p.M.

T " Ulster of the red red shields."
The provincial arms, generally attributed to Ulster, are
— On a field or, a lion rampant, double queued, gules.

NOTES. 105

The knights of the red branch — Cu)tAbh<^ r\^ C(t<^otbhe
)tu<^ibhe of Ulster, are much celebrated in our ancient annals,

• *• Bard of Clan Cahir."
Cahir, son of Fergus, king of Ulster, whose descendents set-
tled in the south of Ireland. The Etymon of Kerry is Cahir
riaghta, the kingdom of Cahir.

9 The last stanza of this ode is called <^bh)t^n, versicle, or
combination. Irish poems frequently conclude with a similar
stanza, which in general contains a recapitulation of the prin-
cipal heads of the composition. These terminations are also
found in Spanish and Arabic poetry.

MARY MAGUIRE.

* The poetical effusions of Carolan contained in this volume,
commence with the love verses addressed to his future partner
through life. They are sweet and simple, and breathe the soft
language of tenderness and affection. It is observable that in
these stanzas, he avoids ahy mention of the favourite pleasures
of the bottle, which will be found so frequently alluded to in
his other compositions.

Mr. Walker, in his Memoirs of the Irish Bards, informs us
that Mary Maguire was *' a young lady of a good family in
the county of Fermanagh," and that she <' proved a proud and
extravagant dame : but she was the wife of his choice ; he loved
her tenderly, and lived harmoniously with her." — His beautiful
monody on her death will be found in this collection of his
poems.

Many of Garolan^s airs are lost, though the words remain ;
while numerous sweet airs have been preserved, whose original
words are now irrecoverable. The difficulty of adapting

106 NOTKS.

English verse, in any variation of metre, to the " complicated
modalations" of several of his surviving melodies is generally
acknowledged. The attempt has been often made, but seldom
with success. His lively style, so different from the slow
plaintive strains of our ancient music; the rapidity of his turns ;
his abrupt changes and terminations, so unexpected yet so
.pleasing, could be followed only in the language in which he
thought, composed, and sung. In the selection of airs, there-
fore, for such of these translations as are not adapted to the
original music, the choice has been in general determined by
the nature of each composition.

The translation of " Mary Maguire*' will call to the recol-
lection of our musical readers the fine old air, Catherine Ogie,
to which there are also English and Irish words, beginning —

« Dear Nelly I*m afraid that your favor I'll not gain.

2lnn x^ m-lx^ile p 'n <^ bh-ipml cu ^b chomhnulbhe."

FANNY BETAGH.

* Daughter of Captain Gerald Dillon, and wife of James
Betagh, formerly of Maanin, in the county of Mayo, a residence
long distinguished as the seat of old Irish hospitality. The
latter gentleman was head of a branch of the ancient family of
his name, descended from the Danes, and, for centuries before
the Anglo-Norman invasion, settled at Moynalty in the county
of Meath. Francis Betagh, the last heir of that illustrious
house, was most iniquitously deprived of his patrimonial pos-
sessions after the Restoration of Charles II. though, like many
of his similarly treated countrymen, he adhered with <' desper-
ate fidelity" to the fortunes of that ungrateful monarch. The
particulars are related in the History of Ireland, by Hugh
Reily, Esq. chancellor of James II. where they may be peru-
sed with benefit by future confiscators. " Perhaps," says my

NOTES. 107

valued friend and kinsman^ the late proprietor of Mannin, allu-
ding in a strain of happy irony to this circumstance, ** Francis
Betagh was deprived to gratify the Irish, by the extirpation
of the last of the Danes, and that it was reserved, parva magnU
camponere, for Charles to finish what Brian had begun." The
usurpers of Moynalty are forgotten, but that injured and vene-
rated family will be remembered while a pulsation of Irish
feeling shall remain in the land. A passage in Mc Gauran's
well-known Piearaca na Ruarcach — *' O'Rourke's noble feast,*'
alluding to this family, has been thus translated by Swift —

«« The Earl of Kildare, -

And Moynalta bis brother,
Great as they are, I was nursed by their mother."

The air to which the present little song has been translated
is well-known by the name of C^ilIn be<^|- ch)tuibhce n<^ m-b^.
**The pretty maid milking the Cow,*' literally, "The pretty
cow-milking maid."

BRIDGET CRUISE.

1 We have seen in the preliminary Memoir of Carolan, that
Bridget Cruise, was the first object^of his afiections. Though
she entertained a correspoodent feeling for him, yet, by some
fatality, their union never took place. The ode, which bears
her name, has been always considered one of the tenderest and
most harmonious of all his works. " I have often listened," says
the venerable Charles O'Conor, ** to Carolan singing his ode to
Miss Cruise. 1 thought the stanzas wildly enthusiastic, but
neglected to preserve them." Mr. Walker calls it his " chef
d'ceuvre," and says, " it came warm from his heart, while his
genius was in full vigour." It has been the fate of Irish

108 NOTES.

poetry, from- the days of Spenser to the present time, to be'
praisedP or censured by the extremes of prejudice, while the
world was unable to deeide for want of the original poems,
or translationB of them^ The present Ode may now, for the
firet time, be compared with other specimens of our Bard, and
though it may not, perhaps, be considered as entitled to the first
place, yet it will always maintain a respectable rank amongst
his poetical compontiotts,

^ c^y should be c^<^ib, tlie third person plural of the verb,
required by the preceding nominatives.

' ** Speak not of Deirdre the renowned"
Deirdre, a female much celebrated by our poets. She was
the heroine of "The tragical fate of the Sons of Usnach/'
an Irish tale of the days of Connor king of Ulster, and the
foundation of Mr. Macpherson's Darthula.

* ii<^ 3-cpuinn-chioch<^ n-3e<^l<^ should, according to the
strict rules of grammar, be no 3-cpmnn-chtoch n-3e<^l;
but this licence was taken by our bard, for the preservation of
the metre.

1 WHISKEY IS THE POTION.

This humorous whiskey lilt, has been generally, but, as I
apprehend, improperly ascribed to Carolan ; lest, however, I
may be mistaken in this opinion, I have judged it proper to
include it among his Remains. It is now, for the first time,
published ; and, it may be considered strange, that in this
whiskey-loving isle, this land of cheer, and song, and merri-
ment, so curious an antidote against care, should have lemained
so long unknown. But perhaps it was unnecessary; the

NOTES. 109

euticing beverage was but too copiously used without it. It
is here translated to the characteristic air of ** Carolan's
Receipt ; " and as a genuine ^* Chanson de boire," stands, in
ouropinion, unrivalled.

Tradition has preserved the following account of its coDip<>-
siti<in. The jolly- hearted bard, whoever he was, in one of his
excursions, visited an old friend, whom he found confined to his
bed, more under the pressure of melancholy feelings, than of any
bodily ailment. He immediately drew near the bedside, took
his harp, and played and sung the music and words of this
inimitable song. The effect was instantaneous— irresistible.
The melancholy spirit fled. The dispossessed started up,
joined the festive board, and was " sick no more.''

1 PLANXTV STAFFORD.

Or, as more generally called, " CAROLi^N's Receipt,"
is one of our bard's most celebrated compositions. "He
commenced the words," says Walker's anonymous corres-
pondent, " and began to modulate the air in the evening, at
Boyle, in the county of Roscommon ; and before the fol-
lowing morning be sung and played this noble offspring of hii
imagination in Mr. Stafford's parlour at Elphin.'^ It is to be
observed, that the first stanza only was composed by Carolan,
the second, p. 24, now, for the first time printed, was by his
friend Mc. Cabe, who sometimes, with Carolan's permission,
added verses to his songs. In the present instance, the Irish
reader will immediately perceive the difference. The Stafford
family is most respectably descended. They were ** trans-
planted" by Cromwell, from Wexford to Roscommon, where
they had a grant of lands, trifling in comparison to those which

110 NOTES.

they lost in their native county. These lands remained with
their descendants, until after the enactment of the penal laws ;
when a profligate younger brother, '^ conformed*' to protestancy,
and deprived the elder, who was the father of Garolan's friend,
of the estate. It soon after passed away from the family.

Mr. Stafford, having on a certain occasion, requested Car«lan
to prolong his stay, the facetious bard is said to have made the
following humorous reply :

5^ ash fco chAjK^ib m& cheibh cii,

Cu<^ipc -ph^^bA rd li-l IT T:e<^ni* 5

P^Htc 6e'6 chion beip le<^c u^^b\

^X &bhbh<^|i 6'ipu<^ch<^ ^n c-iompo5h<^bh 3e?Lp|i.

If to a friend's abode thou should'st repair.
Pause, and take heed of lingering idly there ;
Thou may'st be welcome — but, 'tis past a doubt,
Long visits soon will wear the welcome out.

EDWARD O'CORCORAN.

'1 The air of the old song, called the <' Farmer," which was
written by a Catholic priest, who certainly, while composing
it, was not dreaming of the '* church establishment," will be
found to answer this translation.

3 '* Thou hast sprung from the Gael"
Gael and Gadclian, which frequently occur in Irish poetry,
mean the ancient Milesians of Ireland. From one of these
families was descended the gentleman for whom the present
song was composed.

NOTES. Ill

» " From Galkn to Grange:'
The first of these places is a barony in the coonty of Mayo,
the latter a Tillage in Ahamlish Parish, lower half-barony of
Carbry, county of Sligo.

* " Far the hero of Limerick is near us.*'
This line requires no comment. The siege of Limerick, its
capitulation, the articles of surrender, and their flagrant viola-
tion, are already known throughout the civilized world.
Edward O'Corcoran was one of the heroes who ** covered
themselves with glory" in that memorable struggle. His name
has been consecrated by the muse; but many a brave and
noble spirit, his companion in arms, fell in the contest, whose
name is unknown to posterity.

Onmes illacrimabiles

Urgnentur ignotiqae long&
Nocte, carent quia vate sacro.'

HoBAT iv. 9.

DOCTOR HARTE.

' Doctor Harte was Titular Bishop of Achonry, an Episcopal
see in the West of Ireland. The virtues, persecutions, and
sufferings of the Catholic clergy of Ireland, not only endeared
them to all of their own persuasion, but excited the commis-
seratbn, and gained them, almost generally, the esteem of
every liberal and enlightened Protestant in the kingdom, even
before the relaxation of the penal code. Carolan, « constitu-
tionally pious/' was enthusiastic in his attachment to the
clergy of his faith. Their praises frequently occupied his muse,
and gave birth to some of his noblest conceptions in music and
poetry. The anonymous, but excellent, correspondent of the

112 NOTES.

Author of the Memoirs of the Irish Bards, alluding to his
poem to Doctor Uarte, says, " it has often excited sentiments
of the most fervent piety/'

ydobh^^jib ceAftc bo mh^^c tk^ 3l5i|ie € |:eiTi

' '' To iky Miuier in keaven a true ttewardart thou/'
b no less an idea of the most exalted devotion, than of the
most elevated genius." He adds, " It is a loss to the public
that this truly virtuous dignitary had been so insensible to all
emotions of self-love, as to have the first of Cardan's compo-
sitions for him entirely suppressed." — ^This, however, was not
the case. The copy here given has been had from the dicta-
tion of an aged man, by whom it was recited with all those
feelings of virtuous enthusiasm so peculiar to the Irish. — It has
been translated to the air of " My lodging is on the cold
ground."— iSSee MooreU Iruh Melodies, No. IL p. 100.

^ '* OhI good is thyfatne in the land of O'iVettf."
The province of Ulster which has been particularly de-
nominated the Land of O'Neill, being the territory of that
princely family.

* The O'Harte's are an ancient and noble family of Ireland.
In the topographical poem of the famous John O'Dugan, be-
ginning *' CpK^llx^m CTTiricheAll r\6< "^pobU^," Fmes obeamus
lemes, \\AU\a: itTo5hbh<^ '< O'Harte the Noble or Regal,"
is the first family of Meath mentioned after Maelseachlan the
monarch. This was anterior to the Anglo-Norman visitation.

Though Carolan's attachment to the Catholic clergy was uur
bounded, yet he sometimes had occasion to make them feel the
severity of his satirical powers. Having once visited the
Friars of Rossreill, a monastery beautifully situated on the
banks of Lough-Corrib in the county of Galway, he is said on
departing to have addressed them as follows :

NOTES. 113

lA^'X lonwhum leAc tk^ b|i&ich|ie,
Mibh leo 30 T^TT^, yoc^^nij
C<^bh<^i[i bcibh 5<^ch mbh i<^p|t<^ib,

Would'st thou the friendship of the friars secure,
Be ciTil — be sabmissive— be demure !
Breathe not a word that may their ways condemn —
Grant all they ask, but nothing ask from them.

O'MORE'S FAIR DAUGHTER;

OR,

THE HAWK OF BALLYSHANNON.

' The music of this ode has never, that I know of, been
published, although it is, undoubtedly, one of the finest speci-
mens of our bard's composition.

It was composed, with the words, on the following occasion.
The son of O'Reilly, returning from Leitrim, accidently met
the " Fair daughter of O'More," near her father's residence.
Struck by her beauty, the youth remained " spell-bound,"
gazing in silent amazement at the charming object before
him. Love took possession of his soul, and the new inmate^
always fertile in expedients, soon suggested a pretext for
accosting the maiden. Feigning fatigue, he approached her,
and requested a cup of water with so gentle, so engaging
an address, heightened by the external graces of a fine person,
that a correspondent feeling was instantaneously exerted in her
bo$om. He enjoyed her conversation for a few moments only,
and then, for the first time in his life with regret, continued his
course homewards. On arriving at his father's house, he there
found his old favorite, Carolan, who had just made one of his
annual visits. The bard, whose eyes, as he used humourously

114 NOTES.

to say of himself, " were transferred to his ears/'* perceiyed
his youthful friend unusually thoughtful and pensive; and
from as thorough an acquaintance with every chord of the
human heart, as with every string of his own harp, he at once
suspected the cause. After some ansious inquiries, and a few
good-natured sallies, the secret was imparted ; and the bard,
in a little time, produced the words and music of the present
ode. They only who have ever felt as young O'Reilly did,
can duly appreciate the enthusiasm with which he received
them. Shortly after, invited to an entertainment at the house
of O'More, the youthful lover took the opportunity of reciting
the ode^ accompanied by the music of the harp, music of
which, perhaps, no modem can form an adequate idea. The
effect on the young lady) who happened to be in an adjoining
apartment, may be easily anticipated. The conquest of her
heart was finally achieved, and young O'Reilly had, soon
after, the happiness to be united to the beloved object of his
affections.

When celebrating the praises of the descendents of the Gael,
Carolan's genius appears in its brightest lustre. The O'Neills,
O'Mores, and O'Connors wound him up to the highest pitch of
enthusiasm. He considered himself born to " sing in their
service," and nobly has he performed the duties of his fancied
mission. Of this the ode before us is a splendid proof. As a
poetical composition it is much and deservedly admired.

' " Pride of the gay green hUU of MaUe*'
The territory of Hy-Malia, an ancient district in the S. W.
of the county of Mayo, comprehending the baronies of Murrisk
and Carra, or at least a part of the latter. The country of the
O'Malleys.

' '' Child of ike old renowned O'Mare:'
This family which holds so conspicuous a place in the annals
of Ireland, sprung from Conatt Kearnach, a Northern hero,

NOTES. 115

celebrated in the famoii^ Cualgnian war waged between Con-
naught and Ulster about the beginning of the first century.
An old historical vellum manuscript in my possession states
that, ** The king of Leinster, Fitz. Patrick, being at war with
the king of Munster, entered into a treaty with O'More, then
settled in the North of Ireland. The latter having come with
considerable force to the assistance of his ally, succeeded in
defeating the Momonians, and claimed the fulfilment of the
conditions entered into with him. This being refused, he
■eized upon the territory of Leix (Laoighes) a country now
comprehending the greater part of the Queen's county, which
he parcelled out amongst his followers, the 0*Kelly's, O'Lalors,
Devoys, or Macaboys^ O'Dorans and O'Dowlins, whose de-
scendants remain there to this day. These septs werp bound on
all occasions to obey O'More, to do him homage, and pay him
chiefry." These transactions occurred in the tenth century.
Subjoined to this account is the following entry in a modem
hand — *^ Part of this tribute, or chiefry, continued to be paid
until the year of our Lord 1753/'

One of the noblest characters the world ever prodoced. Sir
Thomas More, chancellor of England in the reign of Henry
VIII., is stated to have been descended from the O'More's of
Ireland. — See his Memoirs by his grandson, Thomas More,
London, 1727.

Another member of this family, Roger, or Rory O'More, is
rendered memorable by the prominent part which he performed
in the tragic scenes of 164] . Endowed with talents of the
highest order, he was esteemed the glory and protector of the
Irish. His praises were sung in their poems and songs, and
the national motto generally inscribed on their military ensigns
was—** For God and the Virgin and Rory O'More. '

' <* For the Hawk of Erne is near m#."
Lough Erne, in the county of Fermanagh. This is one of
the most beautiful lakes in Europe. Its waters are discharged

1 2

116 NOTES.

into the sea at Ballyshannon, in the county of Dongall. At
this place is the celebrated salmon leap, so well known that it
needs no description here.

PHELIM O'NEILL.

* Time has not handed down any particolars of the Phelim
O'Neill here commemorated, except that he was descended
from that powerful family which so long ruled Ireland with
sovereign sway. The violent commotions of the seventeenth
century, struck to the dust the topmost branch of this great
Milesian tree. Well may Ireland exclaim at the present day —

** Hei milii, quails erat! quantum matatus ab illo
Hectore; qui redit exuvias indutus Achlllei,
Vel Danaum Phrygios jaculatas puppibus ignes !
Squalentem baibam, et ooncretos sanguine crines,
Yulneraque ilia gereiis, qu«e circum plurima muros
Accepit patrios."

YirgU. iEneid. 11. 274.

There are, however, many descendants of this celebrated
family, though not bearing its ancient dignities, whose pa-
triotic feelings and private virtues would reflect honor on
their noble ancestry, even in the proudest day» of its splendor.
Their names I am prohibited from mentioning, and I regret
the circumstance, for the cause of virtue and patriotism is
ever promoted by pointing out their followers for imitation.

2lichTn3hche<^|i <^i|i chopch^^ibh tk^ s-cp^^iin
U<^irle r\^ bh.¥n$<^mh 6 bh.|:^r<^ib :
3<^ch 3$U3, leir An T1-3&5 $ 6-03,
'2I3 bul lei|- <^Ti 6-qi6u6 6-r^ini3.

NOTES. 117

Aye ! by the fruit the goodly tree is known ;
In the proud plant the noble root is shown ;
The leaves, the buds, their parent stem proclaim,
In form, in hue, in character, the same.

- The translation of " Phelim O'.Neill" may remind our
musical readers of 0'Keefe*s " Rose tree in full bearing," in
'^ The Poor Soldier." For the music — combined with Moore's
beautiful words beginning, *' I*d mourn the hopes that leave
me/' See Irish Melodies, No. 5, p. 49.

PLANXTY PEYTON.

' Toby Peyton was head of a respectable family of that
name, in the connty of Leitrim. He appears to have been a
favourite with our bard, and, from the description contained in
l3ie present song, might be pronounced as possessed of kin-
dred feelings. Carolan celebrated Miss Bridget Peyton, his
friend's daughter, in a pretty poem, beginning, —

&o 5h<^ib mo 3hn&bh <^'t mo fhl<<mce u<^im :
Qli[i ch<^]-^bh 6. c^ibhe ']• <^ poyc m^p -ph^up shUy"*
5o 3-cuip):e<^bh fi r\^ ceubch<^ <^' n-u<^i3h»

* " Who has horsewhip and sword,**
So (VI^'t cloibhe^^mh no h6z^ 'r\ ^ l?lmh<^ibh has been
translated. A Gal way copy of this song reads [Vl<^'y pio^<^l
no b<^c<^, &c. ** If pistol or cudgel, &c." After consulting
some friends experienced in these matters, I am inclined to re-
tain the former reading, as swords^ in their opinion, were in use
before pistols. This subject brings to mind a singular signpost,
which until lately might have been seen suspended over an inn

118 NOTES.

door in that duel-loving county. It contained gome ill-spelt
notification now forgotten, surmounted by a huge horse-
whip, and no less formidable pistol, drawn saltier. On
enquiry I found that this curious specimen was ** put up "
subsequent to Cardan's time, in order to commemorate the well
known attack made by Captain O'Kelly, of that county, on
the 'Mying" English traveller, Twiss. — Captain O'Kelly was
one of those Irish Catholics, who, in despite of penal laws,
spilled their blood against Catholic France and Spain, in de-
fence of their Protestant sovereign George III.

But to return to Toby Peyton. It is related that Carolan
once praising him in the presence of a priest, the latter, for
some reason, expressed his dissent, on which the bard replied,
extempore —

|7loUnn 3<^ch <^&i <^n c-6 bhlbhe^^T ctt^ibhche<^ch^ c^ni,
^5UT moU^nn ^n chl6i|t <^n z-i bWbhe^^T p^iptei^ch le$ j
b^Xi pluT n^ 3|t&ne v( 6 mo |i&&h 50 6e^3h,
50 mol^b 5<^Ti TpeiT 3^" bhji&s ^r\ c-^ch Tn<^|i she^bh^^b.

The kind good man must all our praise command.
Even the sage priest will bless the bounteous hand ;
And, by the blessed light that shines above.

To ibis one rule I'll hold thro' good and ill —
True to my host and to his cheer I'll prove.

And as I find them I must praise them still.

For the air of onr lively Planxty, see Irish Melodies, No.
V. p. 18, — " The young May moon."

MADAM CROFTON.

' Madam Crofton is said to have been the lady of Sir
Edward Crofton of Moate, in the county of Boscommon, baronet

NOTES. 119

The air of these charmuig stanzas is sweet and simple. The
English reader may recognize in the translation the metre of
the well-known '' One bottle more;" and our Irish friends
will be reminded of their old favorite —** C<^6 ^ pn 60' n r-6
pn n<^ch b<^ine<^nTi pn bi" — " What's that to any one
whether or no."

PEGGY CORCORAN.

* These elegant stanzas were addressed to the daughter of
the *' Hero of Limerick/' to whom, as we hare seen, Carolan's
grateful muse had before paid a tribute. The Irish reader
will immediately recognize the translation, as adapted to the
sweet old air of " Chus^nK^ip -p&n ^r\ x^Vf\h\i^ linn." —
** We have brought the summer with us."

' '' The nobles of Spain have been teen at her side.'*
Multitudes of the exiled victims of the penal laws of Ireland,
during the last century, became eminent in arts and arms
throughout Europe. Many of them were conspicuous in pro-
moting the honor and prosperity of every country except their
own. In France and Spain, particularly, their virtues and'
valor were repeatedly crowned with the most distinguished
marks of honor ; and we find the politic rulers of those coun-
tries not un frequently exalting them to the highest ranks of
the nobility. Not all those honors, however, could make them
forget their native land.

6e6p<^ibhche poji^ 3^n tS^ch, 3<^n pi*,
|S/li<^nn^ib <^ bififi, *x ^ Ti-biichch^f

Restless exiles doomed to roam.

Meet pity every where ;
Yet languish for their native home,

Tho' death attends them there.

120 NOTES.

Many of these eminent individuals from time to time revisited
their relatives, who, at home, dragged on a painful existence in
penury and scorn, persecuted by the laws, and trampled to the
dust by every official bigot who could yell loudest against Pope
and Popery. Some of the visitors, in the present instance, were
** The nobles of Spain," alluded to by Carolan.

JOHN JONES,

' John Jones was a descendant of Jeremy Jones, of Ardne-
glasse, and Bellaghy, in the county of Sligo, by Elizabeth,
granddaughter of Sir James Ware, the celebrated Irish anti-
quary. We are inclined to think that the present respectable
members of his name and family will be pleased to find so
handsome a mark of respect to one of their ancestors amongst
the Works of Carolan. Tradition has not preserved the name
of the fair one described, but that she eventually gave it up for
that of her admirer, may be reasonably inferred from the ardent
manner in which he addresses her. We shall be disappointed,
or this will become a charter song among their descendants,
*and follow them

" Like echo attending the voioe whence it grows.''

It was considered advisable to adapt the metre to Cardan's
sweet air of '' Young Terence M'Donogh," which will be
found in Vol. I. of Bunting's collection of Irish Music.

GRACEY NUGENT.

^ Gracey Nugent is one of the only four of Carolan's

poetical compositions that have been published. It has

hitherto been honoured with two versions, one in Walker's

NOTES. 121

" Memoirs of the Irish Bards/' and the other by Miss Brooke
in her ** Reliques of Irish Poetry "; but many have thought that
there was still ample room left for another. It is not to be
wondered that an unfavorable opinion should have been
formed of our bard's poetical talents, when judged through the
medium of translations entirely destitute of the liveliness and
spirit which so peculiarly mark his compositions. Here, how-
ever, must be excepted the few given by Miss Brooke, and
Baron Dawson's sprightly paraphrase of '* Bumper Squire Jones."
I have in vain sought for the original of this excellent song,
which Walker terms ''one of Carolan's most brilliant effusions."

Gracey Nugent ** was sister to the late John Nugent, Esq.
of Castle Nugent, Culambre. She lived with her sister, Mrs.
Conmee, near Balenagar, in the county of Roscommon, at the
time she inspired our bard." — Walker.

This delightful air will be found in Bunting's collection of
Irish Music, Vol. I.

In the second verse, line 5, the word 5eAn<^Tnhuil should,
in grammatical accuracy, be 5eAn<^nihU^^ but the poet was
obliged to adopt the former, in order to preserve the harmony
of the verse.

MILD MABLE KELLY.

' Mable Kelly is one of the finest of Carolan's poetical
pieces, and, for the reason contained in the preceding note,
it has been translated for this work. This beautiful effusion,
combined with others in this collection, will deservedly place
Carolan in a more elevated position as a poet than he has
hitherto held. The metre adapted by Miss Brooke was rather
unhappily chosen. It is the same as that in which Phillips
versified the celebrated Ode of Sappho, and seems to have
been selected in consequence of the striking resemblance be-

122 NOTES.

tweeD the first line of the Greek and Irish poems. The trans-
lation of Sappho runs thus —

Happy as a god is he,
That fond youth, who placed by thee,
Hears and sees thee sweetly g^y,
Talk and smile his soul away.

Carolan, as translated by Miss Brooke —

The youth whom fav'ring Heaven's decree
To join his fate, my fair ! with thee ; *
And see that lovely head of thine
With fondness on his arm recline :
No thought but joy can fill his mind.

Even in this translation our favorite bard need not tremble at a
comparison with the beautiful relic of Grecian genius.

I hope to be pardoned for extending this note, by a few
words concerning the great Irish family of which Mable
Kelly was a member, though unable to ascertain, with
any degree of certainty, to which branch she belonged. —
The O'Kelly family was descended from Colla da Chriocb,
brother to Colla Huais, king of Ireland, A. D. 327. Its
chiefs were princes of Hy Maine, a Western district, compre-
hending the Northern parts of the county of Galway, and
Southern parts of the county of Roscommon. The principal
stocks were those of Aughrim, Gallagh, and Mullagbmore.
From those so many branches from time to time spread over
Ireland, that in the words of De Burgo, ** vix enim, aut ne
vix quidem pagum aut villulam reperire est, ubi Kellius aliquis
non adest." Many respectable families of the name at present
enjoy considerable estates in the territory of their ancestors.

A passage in this song has been adduced to contravene the as-
sertion that Carolan remembered no impression of colours.

NOT£S. 123

Thy soft cheeks disclose.
The mixed tiUy and rose,
that soul speaking eye.

<' How is it possible/' says his fair eocomiast, ^* that his
desciiption could be thus glowing without he retained the
clearest recollection, and the most animated ideas of eyery
beauty that sight can convey to the mind." many other pas-
sages, equally forcible and beautiful, occur throughout his
poems, which strengthen this conclusion. The observation on
the line in which he so pathetically alludes to his want of sight
is just and elegant. It concludes thus — ** but indeed his little
pieces abound in all the riches of natural genius.'*

The music of Mable Kelly is published in Mr. Bunting's
Yuwt Volume. Carolan composed other musical pieces for the
members of the O'Kelly family.

THE CUP OF O'HARA.

' Kian O'Hara, Esq. of Nymphsfield, in the county of
Sligo, whose descendant, Charles O'Hara, is governor of that
county, and one of its Members in Parliament. This respect-
able gentleman is in possession of a remnant, worth some
thousands annually, of those estates which have been in the
possession of his ancestors for upwards of 1550 years.

One of the wisest measures which could be adopted by the
British Government, after Catholic emancipation, in order to
secure the pacification and consequently to promote the pros-
perity of Ireland, (if the latter be an object) would be to pro-
mote a few of the aboriginal families to places of honor or
emolument in the several counties or districts of the country.
This i» advanced in perfect earnest The veneration of the

124 NOTES.

people for the Milesian families, or even for those who can trace
connexion with them, can hardly be conceived by our English
brethren. To this day they weep over the political downfall of
the ancient gentry of the land. ^* To whom, my friend, did
that castle," pointing to a rained edifice near Gort, in the
county of Gal way, " belong in former days?'' I enquired of a
poor man, who hved in a wretched cabin on the road-side :
** To the O'Shauhgnessys," he replied, with a deep sigh ; ** The
heir is in France, he has been expected as long as I can remem-
ber, but, alas ! I am now old, and I fear he will never return*"
Such a people, possessed of such feelings, deserved very dif-
ferent treatment from that which they have experienced forages
past at the hands of England.

I will not assert that ** O'Hara's full cup" is superior to
Anacreon's beautifully decorated bowl, yet there is something
in the former more congenial to the taste of an Irishman.

If a full cup was Cardan's delight, and few knew how to
prize one better, it may be reasonably inferred that he was a
sworn foe to an empty one. This he has shewn in the fol-
lowing impromptu, describing an indifferent reception which he
once experienced at the house of a rich farmer :

JteuT nshe chum ^ bheich hu^n,
be<^n chftu<^6h ^*x IP^T* 3^*^ c^^jtcj
Cu]i<^n be<^3 ^\ Z^^ ^ ^"j
T ^ ^Ze6a\n <^iii cUfi ^ bh-|:<^6.

A little store they had, and it would seem

Both had resolv'd that far that store should go ;

-The dame a pinching shrew I well might deem —
No sense of thirst the husband deign'd to show ; —

A cup, half filled, lay idle and undrain'd.

For out of reach all night that cup remain'd.

NOTES. 125

PEGGY BROWNE.

* The female here celebrated was daughter of George
Browne, the hospitable owner of Brownstown, in the county of
Mayo, an ancient and respectable family of the West of
Ireland. The noble houses of Sligo and Kilmain, and the fami-
lies of Castlemagarrett and Brownstown, in Mayo, and Moyne,
in Galway, are now among the principal of the name.

George Browne was married to the daughter of Mac Sweeny
chief of his tribe, Carolan, who never omitted testifying his
respect for the aboriginal Irish, particularly addressed the
lovely object of bis encomiums, as ''the fair and beauteous
daughter of Mac Sweeney," — ^^l mshin |71heic yUibhTie, ^
puin 6hil, tf^iizh^i^h m6." In the Memoirs of the venerable
Charles O'Conor, a curious instance of Irish hospitality is
related. — '' In the parish of Kilmurry, and county of Cork,
the Mac Sweeney's set up a stone near Clodagh, on which they
inscribed in Irish, an invitation to all passengers to repah* for
entertainment to the house of Mac Sweeny." The hospitality
of Brownstown, however, with less ostentation, was considered
more genuine. To Mac Sweeny all strangers were welcome
with an invitation ; to George Browne they were Jieartily wel-
come without one. Competitions of this kind are peculiar to
Ireland, apd honorable to its children, who are well-known,
in the exercise of this virtue, often to go beyond their means.
In this respect they are diametrically opposed to the wealthier and
more favored natives of our sister isle. Much is it to be wished
that this fine impulse were expanded into the yet nobler one
of national love and friendship between the two countries ; that
the only competition between them would be to promote,
mutually, the happiness and prosperity of each other. Sed
DiU aliier vuum est. The demon of religious discord is abroad
— but we cannot trust ourselves further with this subject.

126 NOTES.

' " Like wild fairy munc they melt on the air"
ytsh-cheol^ Fairy music, is sometimes heard along the
delightful, but unfrequented hills and vales of our island, where
these gentle beings love to reside. It is frequently mentioned in
our poems and songs adapted to strains sweetly correspondent to
the aerial melody which they imitate. Some of our fairy legends
have been given to Uie world, but the tiny actors themselves yet
want an historian. The most celebrated of their kings are,
Finvar, whose principal residence is at Knockmagha, in Con-
naught; and Macaneanta, who holds his court at Scraba, in
Ulster. It is not our intention here to meddle with their
affairs. The reader who may be curious on the subject is
referred to the elegant and entertaining account of the Fairies of
Scotland, given in the " Minstrelsy of the Scottish Border,"
by Sir Walter Scott. Well would it have been for our Irish
elves, had their destinies favored them with so noble a deline-
ator.

Contrary to our intention we must again allude to Finvar,
the fairy ruler of Knockmagha. This is a conspicuous hill in
the county of Gal way, and at the foot of it stands Castle-
hackett, the charming residence of the Kirwan family. It is
very confidently believed throughout this part of the country,
and that not entirely by the lower classes, that a friendly inter*
course has, for time immemorial, subsisted between the heads
of this family and their neighbour Finvar. According to the
testimony of the domestics, the king and his elves frequently take
a carouse in the wine celler ; but, in return, it is whispered that
they copiously replenish the casks, which here have never been
known to run dry. The principal proof of this intercourse> how-
ever, remains to be told. This family has long been noted for
preserving a superior breed of racing cattle. The late respect-
ed proprietor of Castlchackett, John Kirwan, for nearly
half a century took the lead at the Curragh of Kildare, where
his horses were almost always victorious. This success was
unequivocally attributed to his friend Finvar* The latter and

NOTES. 127

his people, as the grooms solemnly averred, dressed in red
jackets, took the horses out on nightly excursions, hut to recom-
pense their owner, they unfailingly endowed them with such
surprizing fleetness that no racer, except one rode by a fairy
jockey, could keep pace with them. Idle, indeed, would be
his task who would undertake to question the truth of these
relations. Many other adventures are related of Finvar, but,
anticipating the full consent of the reader, they are postponed
for the present.

This Fairy digression nearly caused us to omit mentioning,
that '' Peggy Browne" has been translated to the favorite old
air of " Molly Bawn." — Mary Fair.

GEORGE BRABAZON.

' This lively sally of Cardan's muse was composed for one
of the predecessors of Sir William John Brabazon, of Brabazon
Park, in the county of Mayo, baronet, descended, with the
Earls of Meath, from Sir William Brabazon, Lord Treasurer
and Lord Chief Justice of Ireland, in the reign of Henry VIII.
Catherine Brabazon, (surnamed 6cech An bopAif — " of the
parting cup," from her hospitality) sprung from the ancient
family of Burkes', of Glinsk, baronets, and wife of Malby
Brabazon, of Baliinasloe, grandson of the Lord Treasurer, is
yet remembered for her many virtues.

It has been found rather a difficult task, in the translation of
this song, to preserve the peculiarity of the measure, and at
the same time convey an idea pf the inimitable spirit of the
original. These points, however, have been in some degree at-
tained by adapting the first four lines of each stanza to a par-
ticular measure, and the remainder to the well known humorous
turns of " Paddy O'Rafferty," reversing the order of the air.
This is one of the many instances in which it has been found
impossible to follow Cardan's music by English words.

128 NOTES.

' " Hian Norrall and Duninore iJieir sports and their pleaturei,*'
The former is a small town in the county of Galway, ancient-
ly the residence of the Bermingham's, barons of Athenry, one
of whom, the fifteenth in descent, told Sir Henry Sidney, In
the reign of Elizabeth, ** that he was as poore a baron as lyveth,
and yet agreed on to be the auntientest baron in this lande.** —
Sidney's Letters, I, 105. Norrall was the seat of the Mac
Ranells (from whom the name Reynolds,) feudatory chiefs of
Munter-Eolus, an old family of great repute, '' now represent-
ed," says Charles 0*Conor, " by George Mac Ranell, of
Letirfian, in the county of Leitrim, Esq."

BRIDGET O'MALLEY.

' Th^ versatility of Carolan's genius and the correctness of
his judgment appear to us as fully established even by the
few specimens contained in this volume. The reader
cannot but be impressed by the difference of style, manner,
and sentiment, which pervade these compositions, particularly
such as are addressed to the male and female subjects of his
praise. The liveliness, spirit, and expression of the former
present a striking contrast to the soft, sweet, and flowing melody
and tenderness of the latter. This is fully exemplified in his
** George Brabazon," and " Bridget O'Malley." The latter
is not inferior to any in the collection, and coupled to the sweet
air '^ Lough Sheelin,*' presents a combination of music and
poetry which has seldom been surpassed.

The 0*Malley's are a highly respectable aboriginal family of
Ireland. The celebrated </ Grana Weal" (Grace O'Malley)
was daughter of the chieftain of this name, in the days of
Queen Elizabeth. Some curious notices of this famous heroine
will be found in another part of this work. Afy esteemed
friend, Sir Samuel O'Malley, baronet, her descendent, enjoys

NOTES. 129

a large portion of the estates of his ancestors in the west of
Ireland. This is perhaps one of the roost ancient tenures in
Europe.

SHANE GLAS.

* This little rural song has been long attributed to Carolan, and
though not entirely satisfied as to its authenticity, yet I have
admitted it^ as possessing some striking features of resemblance
to the general offspring of his muse. It is said to have sug-
gested the idea of the popular English song, " The humours
of Donnybrook Fair." Both are to the same Irish air« the
•' jl^S^ipe 6ubh/' Englished, " Black Joke."— Shane Glas
means, literally ; Green Jack.

JAMES PLUNKETT.

' Carolan never prostituted his muse to party politics, or
religious bigotry. Though attachment to the ancient faith and
families of Ireland was the ruling principle of his heart, yet he
could discern the virtues, and celebrate the praises, of those
who dissented from the one, or claimed no connection with the
other. This he has evinced in his ** Planxty Payton,'' *^ John
Jones," " George Brabazon,'' the present, and several other
instances.

James Plunkett, of Bunenedin, in the County of Sligo, to
whom this handsome tribute was paid, was one of the most
accomplished youths of his time. At this period, the Irish

VOL. I. K

130 NOTES.

language was stodied as an mdispenslble part of tke ediicatioii
of an Irbh gentleman, and was at the same time, spoken by
all classes in the west of Ireland. This explains the following
passage in the first stanza— ')Pu<^iii cube^x — ^i|t 5h<^oibheil5
bhpei^Sh^ Uomhch^^.— '< He was instructed in the fine polished
language of Ireland.^

The '' Meeting of the Waters,** is the sweet air selected for
the translation of ''James Plunkett''

NANCY COOPER.

' The original answeis the oomparatifely modern, though
well known Scotch air, " The Flowers of Edmbuigh." This
may lead to the recovery of the air whkh Carolan composed
for the present words. Who " Nancy Cooper*' was, I haye
not been able to ascertain.

' For mhn^ be^T^> ^® P^^ should have written bh<^n bhe^j
the genitive^plural, but he was obliged to adopt the singular,
in order to preserve the correspondence of the Terse. The
general grammatical accuracy of Carolan's compositions,
considering his inability to study Irish as a written language,
proves the correctness with which it was spoken in his time.

With this song, I close Carolan's lyric compositions,
though in possession of several others, not inferior to most of
those here given. Should the present meet with that reception,
which it is, perhaps rather fondly, thought they merit, the re-
mainder may, at some future period, be given io the world.

NOTES. 131

CAROLAN'S MONODY ON THE DEATH OF HIS
WIFE, MARYMAGUIRE.

This affecting Elegy, was published in Walker's Memoirs,
with a paraphrase which made some atonement to the shade of
Carolan, for the versions of " Planxty Stafford" and " Gracey
Nugent,'' given in the same publication. The Irish and
English readers are now enabled to form a judgment
of the relative merits of that paraphrase, and the present
translation.

This Monody, and the following Elegy on Mac Cabe, are
the only specimens of our bard's elegiac compositions with
which I am acquainted. They present him before us, in a new
character, but in such a one, as he will be found to sustain
with all the genius of the true poet of nature. Simple and
unadorned, they breathe the genuine language of unaffected
grief. He drew from his heart, and gave expression to the
anguish which be there felt, at the loss of all he held dear in
this world, the wife of his bosom, and the valued friend, whom
supposing dead, be so pathetically termed "the sight of his
eyes." In these effusions, he appears in a more advan-
tageous light, than, even when surrounded by an admiring
auditory, in the most joyous moments of festivity, he poured
forth those melodious strains, which will render his name
immortal.

That Carolan was a man of irreproachable morals, and even
of a religious turn, we have been already assured by the best
authority. The following little prayer, or rather pious stanza,
has been attributed to him ; how truly I know not It has
however, been considered worth preserving. —

^l pj3h n<^ 3 cp^uchc ! fu6a\i €115 ^ m-b&jiji ^n chjw^inn,
"2lr cp(^5he 60 chl^bh 60 itetib<^6h le Uimh ^r\ b^M,

k2

132 NOTES.

^uil 60 3heu3 60 che<^chc ^i|t rAUmh 'ik^ Knn ;
2li|t yc&ich bo x^hthe beip fhr\ 30 p^]t|ichAr finn !

Oh ! king of wounds ! Oh ! son of heaven ! who died

Upon the cross, to save the things of clay ; —
Oh ! thou whose veins pour'd forth the crimson tide.

To wash the stains of fallen man away ; —
Oh ! thou whose heart did feel the blind one's spear.

While down to earth the atoning current flow'd ;
Deign gracious Lord I thy creature's cry to hear !

Shield me» and snatch me to thy bright abode.

CAROLAN'S LAMENT OVER THE GRAVE OF
MAC CABE.

Carolan's friendship for Mac Cabe, and the incident which
gave rise to the present iostance of it, have been frequently
related. The latter was a humourist, and sometimes exercised
his wit in good natured sallies on his sightless friend. Once
meeting him after a long absence, he disguised his voice»
and " accosted Carolan as a stranger. In the course of con-
versation, the dissembler insinuated, that, he had come from
Mac Cabe's neighbourhood; on which Carolan eagerly en-
quired, did he know one Charles Mac Cabe, <^ bht&h Aichne
qt^ch <^3^Tn <^iji," I once knew him," replied Mac Cabe.
" How once, what do you mean by that," says Carolan. " I
mean, answered the wag, " that this day se'n night, I was at
his funeral." Carolan, shocked and moved by this melancholy
news, dictated the above little Elegy, on his friend; who,
soon after, assumed his proper voice, and rallied the good
natured bard, on his giving such a sincere proof of his
affection for one, who had so often made him the butt of his
w'li.^ Walker.

NOTES. 133

The « Ici^bdbh 5e 'n ch|i^ bhi6h cumh^^ns," " The narrow
bed of clay/', will bring Ossiao's *' narrow house" to the recol*
lection of the reader. The third stanza of the above, .being a
play on words, could not be translated* The original .of this,
and the following Elegy, are given .in Walker's and Miss
Brooke's publication», but in a very confused and incorrect
: manner.

MAC CASE'S ELEGY ON THE DEATH OF
CAROLAN.

Mac Cabe, afterwards lived to mourn over Carolan, and
has shown himself not undeserving the friendship which he
enjoyed. ** The circumstances/' says Miss Brooke, '' which
gave rise to this Elegy, are striking, and extremely affecting."
Mac Cabe, had been an unusual length of time without seeing
his friend, and went to pay him a visit. As he approached
near the end of his journey, in passing by a church-yard, he
was met by a peasant, of whom he enquired for Carolan.
The peasant pointed to his grave and wept.

Mac Cabe, shocked and astonished, was for some time un-
able to speak ; his frame shook, his knees trembled, he had
just power to totter to the grave of his fnend, and then sunk
to the ground. A flood of tears, at last, came to his relief;
and, still further to disburden his mind, he vented its anguish
in the following lines. In the original, they are simple and
unadorned, but pathetic to a great degree. — ^The conclusion of
this Elegy, reminds us of Dr. Johnson's Epitaph, on Claude
Phillips, the Welch Musician : —

Sleep undisturbed within this peaceful shrine,
Till angels wake thee with a note like thine.

134 NOTES.

The compositioiis of Carolaa inteDded for this work being
now concluded, it may be seen that in the few observations I
thought it necessary to make, I have altogether avoided any
allusion to the merits of the translations. From this pleasing
part of vpty duty I have abstained, lest feelings of acknow'-
ledged partiality and admiration for a valued and talented
friend, should lead to expressions which might give a moment's
uneasiness to a mind as delicate as it is refined : but the beau-
ties with which his translations abound are too obvious, they
stood in need of no comment from me. I commit them, there-
fore, with confidence to the public. For myself, I shall ever
esteem it a source of pride and satisfaction to have been in-
strumental in associating the talents of Turlogh O'Carolan and
Thomas Furlong, men whose names wilh be remembeied while
taste and genius shall be respected in the land of their birth.

BACCHANALIAN ADDENDA

TO THE

REMAINS OF CAROLAN.

ADDENDA.

After the contents of the four parts which compose these vo-
lumes bad been distributed, the three following articles remaioed
undisposed of, and as they had been considered worthy of pre-
servation, and appeared to partake somewhat of the sprightly
character of Cardan's muse, it was determined to place them
immediately after his ** Remains." Irish compositions of the
Bacchanalian class, are numerous, and many of them excellent.
These given here, have been selected, not as possessing superior
claims to poetical notice, but for presenting, in so many points
of view, the subject which they describe with such exquisite
humour. The first, is a tolerably good specimen of our jovial
effusions ; the second, an ingenious satire on our extrajovial
propensities; and in the third will be found a lively des-
cription of an Irish merry-making of the olden time. Taken
together, they exhibit some striking features of national cha-
racter.

It is well known, tliat, in former times, Ireland was distin-
guished for temperance and sobriety. At more recent periods, it
became noted for some of the opposite vices. Cambrensis,
Camden, who viewed the country not even "uno oculo,*'
and other English writers, who seldom omitted any opportunity
of vilifying the Irish ; in summing up their virtues and vices,
have never charged them with drunkenness or intemperance.
Dr. Samuel Madden, who published some Essays on Ireland^

138 IRISH BilNSTRELSY.

about a century ago, ** and whose name," says Dr. Johnson,
** Ireland ought to honour " tells us, that, ** Mtmy men can
remember f when we were as remarkable ibr our sobriety, a»
we are now for rioting and drunkenness. Dr. Madden's
political and religious prejudices, preYented him from pomting
out the cause of this sudden metamorphosis. In the commoo
cant of his day, he ascribes it to Pope and popery ; but, he
well knew, had he the candour to state the fact, that, it owed
its baleful origin to the impoverishment of the country, to the
oppressed and degraded state of the main body of the people.
Wilfully passing over the cause, he takes care, howeyer, mi*
outely to describe the effects. ** We drink," says be, ** as
Tacitus describes the old Germans, night and day, and though
we have poisoned our bodies, and debauched our minds, though
we have enriched our enemies, impoverished ourselves* wad
wikdome mar wretched country^ yet to comfort us, this may be
said for our honour, that we have got the character, of bearing
our national miseries with the best grace, nay, and of being
the most boon companions, and the fairest drinkers of £urope,"
and concludes, by presenting a hideous picture of the'' poverty,
idleness, misfortune, and misery which too many of our people
langiiish under," the consequences, he might have added, of
English domination, and of penal laws. Not satisfied, with
depriving the old proprietors of their ancient estates, or content
with driving forth myriads of Ireland's noblest sons, as
branded wanderers over the face of the earth, the malignancy
of English laws, and English taskmasters, reduced to the
sttnation here described, the wretched sojourners, who were
declared to exist in the country, only by legal connivance. —
Great b the retribution which England owes this ill-treated
land. May the errors of the past be remembered as warn-
ings for the future.

Since the relaxation of the penal laws, great and general
amendment has taken place in Ireland. Habits of intemperance

BACCHANALIAN. 139

bave gradually declined among the middle classes of society,
but unfortunately, still largely prevail over the lower orders.
Here also they will disappear, when, on the abolition of the
impious remnant of that degrading code, security shall be in-
creased, and property extended, the latter flowing like the blood
from the heart, and revolving to its source, continually preser-
ving and invigorating the entire system. Of this truth, a forcible
illustration has been given by Mr. Coxe, an intelligent English
traveller: ** A Polish nobleman, Zamoiski, in 1760, eman-
cipated six villages, in the Palatinate of Masovia. While the
inhabitants were in a state of servitude, he was occasionally
obliged to pay fines for disorders committed by them, for in a
state of drunkenness, they would attack, and sometimes kill
passengers : since their freedom, he has seldom received any
complaints of this kind against them."— This fact, applied to
Ireland, speaks volumes. May our " wise and enlightened"
legislators profit by it, and effect on a larger scale, what the
patriotic Polander so happily achieved on a smaller. If not
actuated by a desire to promote the prosperity of Ireland^ and
consequently to secure and perpetuate the stability of the Em-
pire; may they, at least, feel for the degradation of their
species ; and, by an act of legislative justice, prevent our poor
countrymen, from exhibiting themselves any longer, as drunken
helots to the derision of the world.

140 IRISH MINSTRELSY,

71 i)-uirci6i)e ci)|toi6r)e <h^i'

71 h-Ui|\5i6he ch|t^6he n^ n-^nni<^Tin^

le<^3^nn cu <^i|t U^jt me,
Mbhim 3<^n ch^ill 3<^n ^ichne^

'y 6 ^n c-edch|i^nTi 6o b'|:he&p[i licm ;
W6he<^Tin mo choz^ irp^c^^ibhche,

Tl^uy (X^ilim IMc mo ch<^pAbh<^c,
7Vx biobh ^ Ti-be&|in^iT m<^ichmhe le<^c,

'Jlchc ce<^n3mh^i5h liom 6. m<<p<^ch.

Tin ui^ip ^yb^ibh cuy^^ An c-AichYpionn,

^I'r bheibh 6o rb^ilm p^i6hce,
6&n-p ionA6-com3eliom,

^I'r ce<^n3mhAi5h liom A 6-a3h An c^bhAipne;
41^1(1 A bh-'Feici]i c&i|ic A'y cnA3Ai|te,

^I'r coc A 6-c6m An bhA|t|iAile,
7l'r BTobh An lilji AnAice leAc,
21Y itSmhAc-i-A cuiii):eA6 ^i^ike.

BACCHANALIAN. 141

WHY, LIQUOR OF LIFE ! '

TRANSLATED BY JOHN D'ALTON, ESQ.

The Bard addresses Whiskey.
Why, liquor of life ! do I love you so,
When in all our encounters you lay me low?
More stupid and senseless I every day grow.

What a hint — If I'd mend by the warning !
Tattered and torn you've left my coat,
I've not a cravat — ^to save my throat.
Yet I pardon you all> my sparkling doat !

If you'll cheer me again in the morning.

Whiskey replies.
When you've heard prayers on Sunday next.
With a sermon beside, or at least — the text.
Come down to the alehouse— however you're vexed.

And though thousands of cares assault you :
You'Jl find tippling there — till morals mend,
A cock shall be placed in the barrel's end,
The jar shall be near you, and I'll be your friend,

And give you a " Keadmille faulte /"

142 IRISH MINSTRELSY.

Och ! mo xtS\i <^3ur mo ch<^iK^ di,

^/lo Thiuii d3UT mo bh]i&ch<^iii,
f/lo chCiiiu:^ mo chish, mo chKlAmh cu,

|7lo ch|tudch <^3UT mo tc&c<^,
|Vlo chiie<^bhd6h, mo ch^uchb^ mo ch<^p(^ill cu,

|Vlo bh<^ 't mo ch<^oT|te ^e6X^ cu,
7Vx ch^ii 3<^ch mbh 6% <^iiimm3he<^r

60 chon3bh<^i6h me-p p&ific le<^c.

'I* <^ mhui]titTn mhumce, mh<^T5<^lAich,

Ir c<^ichn«^mh<^ch 60 phSj Uom,
4^^ bitilcui3h iff$T 60'm ch<^iich<^nTK^chc,

'I'r 5<^P ^^'^ chme^Jbh cWip me :
le<^n&n-|n3he le<^m 5in <^'r Tlwm,

bit{(ch<^i|i 3<^oTl 6<^mh b[K^&i be'n c-fulc,
!]• c^iit6e<^i--ciiioiT 6<^mh boul op punch,

^I'r ce<^n3mh<^i6h bom 6'^ ch%u16he<^chc.

Ir lombhd biiuT3hm d']- e<^ch|i<^nn

bhi6h e^^biM^mn le fi^iche,
'Jlchc n1 irhdiK^nn bjiSn <^m <^i3ne,

'^j-u^ip Itoncdjt chuc<^m ^iji cUp cu :

BACCHANALIAN. 143

^^The Bard resumes his address.

You're my soul, and my treasure, without and within,
My sister and cousin, and all my kin ;
'Tis unlucky to wed such a prodigal sin, —

But all other enjoyment is vain, love !
My barley-ricks all turn to you,—
My tillage — ^my plough — and my horses too, —
My cows and my sheep they have — bid me adieu,

I care not while you remain, love !

Come, vein ' of my heart! then come in haste.
You're like Ambrosia, my liquor and feast.
My forefathers all had the very same taste —

For the genuine dew of the mountain.
Oh, Usquebaugh ! — ^I love its kiss ! —
My guardian spirit ' I think it is.
Had my christening bowl been filled with this,

I'd have swallowed it — were it a fountain.

Many's the quarrel and fight weVe had.
And many a time you made me mad.
But while I've a heart — ^it can never be sad.
When you smile at me lull on the table:

144 IRISH MINSTRELSY.

(71 bh«^n <^3UT mo IMnbh cu,
(71 mh^chdiji <^3ut m'^ch^ip cu,

T "^ T3<^ppr<^it>h me 30 bjii^ch le<^c.

C^ib n<^ 3dolc<^ If -pe^^iiiii^ ^3<^m

6& bh-T«^il <^ b-cdUmh Ciiiei^n,
le<^nn d'r biK^nnb^, <^'t uiix^e-b«^ch<^

'Uchc iK^ch 6-c<^3<^nn dn cU|t<^^icc liom j
bponiK^im T<i6 60'n n-e<^3luiT,

|7l<^Ii ir miji mo bhliil 'r d' m-be<^n6ui3hche<^chr,.
'X 3«^n mh<^ich le6 btK^€n 60 bhUire<^6h 6he,

£)' &r <^rch^|imn &o leu3h<^bh bhtimn.

BACCHANALIAN. 145

Surely you are my wife and brother —
My only child — my father and mother —
My outside coat ♦ — I have no other !
Oh ! rU stand by you — ^while I am able.

If family pride can aught avail, ^

I've the sprightliest kin of all the Gael —

Brandy and Usquebaugh, land ale!

But claret untasted ipay pass us.
To clash with the clergy were sore amiss,
So for righteousness' sake I leave them this.
For claret the gownmen's comfort is.

When they've saved us with matins and nfiasses.

VOL. I.

146 IRISH MINSTRELSY.

^yi mo c>i)te<(cli ! Wdn che<^iiiidi5he nA f^ile !

^y A mheiTSe Tn1iiii|fnMch, mo ^fil^bh yihn xii,

^6lb6^ liom-yA Xjkxm 60 '6 ^sm^if,

'y 111 f h<^c<^ibh m€ o'n n-<^-p n-&6 chu,

^ h-ioii3nd6h 6hdmh-T<^ bhach 5ho b^u|i^ch,

T "SW^ P'l^T TW^ ^ s-ciOTin mo 6h^ bhlidbh<^m 6&i5 ch(i,

Chionn m<^|t bo bh^uitch^ mo rhoil f^n b<^b^

'T 3*^P i^^oxX me n^^ch tc^^PT^ww 30 h4u3 le<^c. —

^1 h-g p ^Tnh&m m<^ich b'^ n-b^^ntr^bh,

2ln i^ bhibhe^T bochc bo shnibh di T<^ibhbhip,

BACCHANALIAN. 14T

ODE TO DRUNKENNESS.^

BY THOMAS FUftLONO.

Ob ! drunkenness, spouse belov'd, where dost thou stray?

Here in thy absence stupidly I pine;
For since we parted this time yesterday,

Och ! many a black and bitter thought was mine ;
I wedded thee all freely and light hearted.

Ere I had counted even to my twelfth year ;
I lik'd thee — for each ugly care departed.

Each big blue devil' flew off when thou wert near;
I vow'd all constancy, and kept my vow.
But Oh ! sweet spouse, what signifies it now ?

Wide is thy range, but greater still thy power,
A worker of wild wonders sure thou art ;

Strange are thy freaks in that most merry hour.
When the full cup comes forth to warm the heart ;

Oh ! many a miracle thou hast effected.

Where jolly ones at table were collected.

l2

148 IRISH MINSTRELSY.

'y ^n ce bhi<^6h bttuibe<^Tnhuil bhiKbh f^ nieinne<^Tiih<^il,
'I* <^n t& bhi<^bh cpudbh bo 3hlu<^inpei^6h -p&le 6j\n^
7ln c-e bhi<^6h i-dncdch, KwiTc^^ibh, T^03hdlc<^,
bhi<^bh -pe 3iie<^nnTnh<^ii, pnnmh^^m m^bhiu^ch. —

'y TTK^ich bo mhuin t& 6h<^mh <^ bheich qi&6he<^ch, .
^ 6-ce<^n3<^in mo mh^ch^^it 'y drni 3<^ch b^ufilA,
Tlnoi]-, ip^jidoiji 1 ^6h c^oTth 3<^ii 6h\ pnib ! —

to'inneoTdmn p^ipc 6e'6 rhp^bhibh ;

!]• ui^ii-le cu lonX pol C^bh<^,

'X fe« bhSupip^bh bu<^6h ^^iji ):he<^|tdibh eipei^n,

'Jin c-6 bhi6he<^T ciuin 60 shifibh rii bi^och ^,

'Jin c-g bhT&he<^i- 63 60 shnlbh cu ^ofb^,

'JI'T ^3 ^^P'T ^^'^ ^ ^T ''^che. —

budbh be<^3 oile n<^ch Innfini -pSin ope,

^1 fh^h^^nn cu lochc <^i]i Iq6A)6. n^ <^i[i e<^b<^ch,

4^1 Te^pp le<^c <^n 6opuT 'n& dn 3lK^bh<^l-&^6<^in. —

?ln qi&ch 6'eip3hi6 <^nfK^ch 6. n-6i<^i6h <^n |rh$u|T^,
YmbhUib <^n olbhce 30 h-di3«^Tic<^ch <^$bhp<^ch,

BACCHANALIAN. 149

Chang'd by thy touchy the poor quite rich become.

The low get lofty, and the timid bold;
Cripples get legs — speech bursts upon the dumb.

And youth and vigour bless the weak and old ;
The smile of joy steals o'er the face of trouble,
And folks, with hardly half an eye, see double.

By thee the miser's purse is open*d wide ;

The dolt, the dunderhead, thou renderest witty ;
'Tis thine to lend meek lowliness to pride,

Or melt the stony selfish heart with pity ;
Even old hell-daring weather-beaten sinners.
When mov'd by thee, in grace become beginners.

How oft have I, dear spouse, inspired by thee,

Pour'd the full tide of eloquence along ;
How oft have other wights been chang'd like me.

Now up now down, defending right or wrong ;

Subtle thou art, and valourous and strong.
Tis thine to loose the slave, or bind the free.

To paralize with age the limbs of youth ;

Void of all guile, with thee dwells barefac'd truth.

150 IRISH MINSTRELSY.

b'lon^nn lei ^n mhim ^^j l^)t ^jn fhbha^

^1 h4poU ^ li-AichpiTche<^ji bp 5h<^cU:A ;
4^1 {i^ibh mdc iJile^^T i lochb^^jt eipe^^n,
^<^ch ji^^ibh bo 5h^ol Wit q*e n^ chiile. —

fiuit |7lhac )^ddi3h<^iiihTi^ iu^ n-e^ch Igtinne^ch,

Yi&|t m &ui^cke lie n-bi^rjchibhe b&5h-5hnic9iih,

Yiii|t ui ChonchubhKi|i o rnie^l ii<^ h-C|tionii,

yidji ui ]tu<^i{tc <^3Uf piiji ui |U^%h<^lU^i3h,

T ^n i<^pU bhibh rhv^ S^n ^in Uckc :

It 1^|tU^ ChiU'-b^)t3hA, bubh 3<^tt ^ ch&m bine,

7*10)1 Ui 2liiiilu<^in i bb^ittt <^n c-ii^bhe,

Yiu]i (Vlheic ^ten3UT<^ 6 Chi^ol ^ &t3c,

YiLtp UI Chonn^ill <^ rkCll i Tlnqtuim,

yiuji of Ch^rh&m <^3ut p^p f/lh«c Yuibhne. —

Yiti|i 3Ach bocbtCitu^^ <^3UT p^p 3^ch Iw^ish cu,

T'lip y^ch C)i(ip^o)k^ <^UT pwp 5^cb Y^^ishbifiip,

BACCHANALIAN. 151

No friend art thou to sly bypocrisy —

Thy sway prevades each station aod degree 3

Thee boor bath faail'd thee with a sleepy sonf—
O'er many a conqaer^^ conqueror hast thou smird.
And even the guide of realms thou tumest to a child.

Little thou beedest where thy head is laid^

To thee the bog is as the bed of down ;
Little thou mindest how thy clothes are made,

Small thought hast thou of cloak, or cap, or gown ;
For points of form thou carest not a pin.
But at the chimney would as soon come in.
Aye ! just as soon as at the opening door —
The pelting rain may drench thee o'er and o'er.
The storm — ^the snow — the hail around may fell.
Still! still, my fearless spouse, thou smilest at them all.

To many an ancient house art thou allied,'
Oh I many a lordly one thy claim must own ;

The soul of valour and the heart of pride.
Must stoop all humbly where thy fiEtce is shewn.
Wide round the land thy relatives are known,

152 IRISH MINSTRELSY.

yitili doiy-ciuil '<^T Tiuji nd h-h^e,

yiuii mhoii mi\i 60 luchc blishe Cijie^^nn. —

Ifiufi h6j\ n-03 3<^ch ne6in 6*& bh-v^ubv^^bh,
Tfiu]i b^n n-Momhdoia <^3 Ufibhe 't <^3 &P3Vubh>
yiuii b<^n i-hioT <^i|i'ioch6<^ii yl^ibhe. —

'2I3UT 3<^ol 116 mhSji <^3 ed3luiT 66 le<^c. —

It ^^iibe rbu<^T tu 'n^ n<^ rpguitch<^.

It m6 30 m^ii td *r\^ Cr\oc-'^\ihr\e,

'X bibh culpoll <^ri U '?K^ 6h&3h pr\.—

Xo ^^'b chudiiiim ! '^x ^^ ^0'^ iiabhce^ch r

^l Un 't <^n chupkn <^*t ^eibh me p&bh lei^c.

BACCHANALIAN. 153

Tbe chiefs of might, O'Donnell and O'Neill,

Me. Guire, O'Rorke, Mc. Mahon, and O'Connor,
Kildare's old earl, that pink of worth and honour,
O'Hanlons from the mountain and the vale.
Fair Antrim's chiefs, OXonneli * and O'Keane,
And hundreds more that must unnam'd remain,
All these, though haughty, and tho' high they be.
These, darlmg drunkenness^ are allied to thee.

Nor these alone — each doctor in the land.

Each strutting soldier, drest in red or blue.
Each minstrel, and each poet, takes thy hand.
Lawyers and ladies, and the clergy too.
Knockgraney's head • — the sky so fair to view—
Than thee at moments seem not more sublime.
But low thou liest again in little time :
Fill up the cup, may victory be thine own.
Go where thou wilt — ^for thee I'll live alone.

154 IRISH MINSTRELSY.

To 6h<^oibh rtatnce Mh<^3<^^^h Uibip,

le'ii mhi^nn sp^bh d cpTche ;
^I'r m Thuil ^ic o'n |lfic 30 f/l^sh,
4^dch bh^uil 't An c-TUmce ch^bnA !

f/l& mhidnndib p&ipc An |:tnAl-bhAU^in
bhiAbhcAich, bli|i^ich[tich^ bhittoshmliAip ;

Ir b'^uAchAr qii^ch 3Ach )?uAinoniit&6h,
'Jlili chuAUchc bhpe&3li nA npe.

yt&ince ui <I1&11, m 6homhnAill Mhhh,
7Vx Tliochb nd h-Ciitne |t1o3hbhA,

7Vx 3Ach A bh-^uil beo 't ^r\ fAdmh^m mh6[i
be ThliocJib An |l6i3h mAc (Vlhile ;

BACCHANALIAN. 155

MAGGY LAIDIR.*

BY THOMAS FURLONG.

Here's first the toaat^ the pride and boast.

Our darling Maggy Laidir;
Let old and young, with ready tongue.

And open heart applaud her;
Again prepare — there's to the &ir.

Whose smiles with joy have crown'd us ;
Then drain the bowl — tor each gay soul.

That's drinking here around us.

Come friends dont fail^to toast O'Neill,
Whose race our rights defended ;

Maguire the true— ^'Donnell too,
From eastern sires descended ;

156 IRISH MINSTRELSY.

y\^n qie yhe^^jic 6o'n i-ci^oibh-'pn.
'Y*<^ U^shw^n n^ lAnn, b^ bpioshmh^ji, ce^nn

lion <^n Tnhe<^b<^iii 6o'n n-i^}ib-e<^|-bo3,

5li<^feh ^'x T^n^ '^^ n-6^ome ;
Hon An mhe^^b^^iji &o*n n-Ach<^ifi pe^^ccAfi,

fo An ceA3Ay3 -pipe :
6& chuAch, qii cufi&in bo'n n-AchAip Com&|-,

ly binn A chSmbp^bh 6TleAT 5
YctAU ay cAnnA 6o'n n-AchAiji CeAllAich,

61A b'K cheA3Ai3 choibhche,

Hon An T3<^IA, yo bhAotbh yl&ince,

UlkAich 6?.nA A^ Mu^^hmch !
yt^mce lAlshmch, An luchb meAbhiiAch,

7Vx ChonnAchc' nA niA%h&eAn TSiAmhAch !
lion An ch&cA leif An T3^lA*;

*2l m-bjieAll 30 h-^pb Aip 6hAoichibh»
le'p mhiAnn eifie chlAolbh 30 h.&5ceAfic,

^ 6hiA, bibh qtgun le jAgbhUibh !

BACCHANALIAN. 157

Up ! up again — the tribe of Maine,

In danger never fail'd us ;
With Leinster's spear for ever near, '

When foemeu have asi^ail'd us.

The madder fill ' with right good will,

There's sure nojoy likeJ drinking^—
Our bishop's name — thi^ draught must claim,

Come let us have no shrinking ;
His name is dear — «nd with him* hfere.

We'll join old Father Peter ;
And as he steers thro' life's long years,

May life to him seem sweeter.

Come mark the call — and drink to all

Old Ireland's tribes so' glorious^
Who still have stood — ^in fields of blood,

Unbroken and victorious :
Long as of old, may Connaught hold

Her boast of peerless beauty ; *
And Leinster shew to friend and foe,

Her sons all prompt for duty.

158 IRISH MINSTRELSY.

* 5^ch Tie^^ch n^ch HifAbh^ clAdibh '5UT bjiin ^ip,

yikinze choip nA h-ei|te^Ti !
ITIile 5ti&iTi ^^ip, XS^n 'r\^ sh^piiAbh,

pi<^ <^'r pl^3^<^ e«3ipc !
*Y3<^ch ne<^ch nAch iA|tfi):A6h <^n Aifc ch^bnA^

50 pAibh iM^ fMAT&A <^3 c|t$im i^ip !
'JI'T ^ Ai|t iMiTse i ch<^ol-uiT3e,

"21 n-ba&r b|toibe A*r p^ne !

^'T irSuTbA ch|tdibhe nK "p&le;

^'|- uile bh&imh nA fi-6&che ;
"^pieAbh nA n-uAfAl, 'j-A moUchuAlAchb,
TpSuyrA buAn f^hil^uf.

fe^fiAw 5&i]tbeAr9 cq-A 'n-^ipbe,

6A|i Ti-bomhnAch, tKtm-p Aip iM«T3e !

6ATnhA|- ^iiinihneAch, ^ 5-cuAi|tc chpib linn !
Xo An c-AoibhneAr cli^be )

BACCHANALIAN. 159

A curse for those, who dare oppose

Our country's claim for freedom ;
May none appear — the knaves to hear.

Or none who hear 'em heed 'em :
May famine fall upon them all,

May pests and plagues confound them,
And heartfelt care and black despsur,

Till life's last hour surround them.

May lasting joys attend the boys

Who lore the land that bore us;
Still may they share such friendly &re,

As this that spreads before us.
May social cheer like what we've here.

For ever stand to greet them ;
And hearts as sound as those around.

Be ready still to meet them.

Come raise the voice ! rgoice, rejoice,

Fast, fast, the dawn's advancing ;
My eyes grow dim — ^but every limb

Seems quite agog for dancing :

160 IRISH MINSTRELSY.

M^n ^ 3-cUi 'x ^n jilnsce !
"pe^^liShi^ll^ fetinUins, ^e^^chc^m cUhce^ch,
50 iK^ibh A |<i3|t^6h <5iTmce !

^l Ch^ch<^ill mhoifi, A fchowhiK^ill 013,

Xo tP^fic ^'x pl8i61i, fe<^fi m'-phiiiinn'

C^iqiion^ ^nn, 30 b|tW3hmh^|i, ce<^nn,

C<^ ]lof ^3 |im3C«^6hi c$ip 'nA nniche<^ll ;
Oil ! in ! IT compilin chl&bh p !

^l 'Zlen3uix cp^bhe, ^ [^h^shnuir bhuibhe^

7 <^ Mh&^^l^e bhinn, 'r ^ piUe,
le ce$l ^ m-b^ul, cu|i ceoibh ^ip ch€u6^

5^n bhti^n no ^6 A n-6<^oine :
yeinn &h(iifin iTe<^n3C&n, piob ^^y uomp^riy

^^0 <^Ti ch$mh-3h&i|i 3hle$ii^ch !
yiib ope 6. ch&iii6e<^r ' t^<^ 5<^ch U le<^c,

6<^|i |n^3h If b|te&3h <^ti tFftc p !

BACCHANALIAN. 161

Sweet girls begin, 'tis shame and sin,

To see the time we're losing ;
Come lads be gay — trip, trip away,

While those who sit keep boozing.

Where's Thady Oge ? — ^up Dan you rogue,

Why stand you shilly shally ;
There's Mora near — and Una's here.

And yonder's sporting Sally;
Now frisk it round — aye, there's the sound

Our sires were fond of hearing ;
The harp rings clear *— hear, gossip hear ! .

O sure such notes are cheering.

Your health my friend ! — till life shall end,

May no bad chance betide us ;
Oh ! may we still, our grief to kill,

Have drink like this beside us;
A fig for care !— but who's that there.

That's of a quarrel thinking?—*
Put out the clown, or knock him down.

We're here for fim and drinking.

VOL. f. M

162 IRISH MINSTRELSY.

yo opc A Ch&n, Tf binn bo bh^ul,

C& An bule&n bjiei^sh, bhfiio3hfnhA]i,
&o'n bhAlbh bheip J&m, bo'n bhAcAch l&ni,

7lnAm cl&bh, ij" bjimshin p !
leA3 An yqioinTe ! poT |:&'n m-bSjib leiy !

bhuT p An Tp^shmhAp fioshbhpAish ;
Ij- me-p -p^in, wAc -piie o'^l&ll,

hhK ipop Cipe A5 piojiliAbh,

(VlAc dpjtchAish mSp, 0*l)piAin nA yiSsb,

^0 3hAel 3An che$i6h, nA qi&i-'phip,
|7lAc ^l&i3inT (iip, |VlA3ui6hip nA pAnn,

imi" chUiiceAch Cipne 5
O'CeAlUich cleibh, O'ConchtibhAip cpgun,

^Vj T^iwjhc bpAnbuibh An puAibh-rhl^bhe,
O'fcuin An -peAp, O'M^P'^*^^ meAp,

Mo shAgl Aip TpAb nA b&sh-iphip.

BACCHANALIAN. 163

Tie up his tongue — ^am I not sprung

From chiefs, that all must honour;
The princely Gael, the great O'Neill,

O'Kelly and O'Connor;
O'Brien the strong, Maguire whose song

Has won the praise of nations ;
O'More the tough — and big Branduff, *

These are my blood relations I ! !

H 2

NOTES

BACCHANALIAN ADDENDA.

NOTES.

WHY LIQUOR OF LIFE.

' English writers on Irish affairs, have servilely copied each
other, caeci cscos, in succession, from Girald Cambrensis to
Daniel Dewar. They have had a fruitful source of invective
in what thqy were pleased to term the demoralized state of the
Irish peasantry ; and thb mis-statement they always took care
to put forth, as a sort of excuse for the cruel treatment that
devoted class received from its English task-masters. That our
persecuted countrymen were remarkable beyond other people,
for strict adherence to moral rules, is not pretended ; but, that
they were not inferior to any other, is a fact too well attested
to require proof here ; and when we consider the nature of the
laws under which they groaned for centuries, whose' general
tendency it was to reduce the Irish people below the common
standard of humanity, that fact, will remain an honourable
testimonial in their favour to future ages.

For prowess in drinking, the Irish have been often compared
to the boors of Germany and Holland, and it must be con-
fessed, that, in this as in other pursuits when they apply
themselves, they soon become distinguished proficients. This
pernicious custom, as already shown, is but of late growth in

168 NOTES.

Ireland. It originated among an impoverished people^ who
were sunk and degraded in their own estimation, by the opera-
tion of laws founded on bigotry, and administered with par-
tiality and injustice. The Irish are, if any people ever were,
excusable for this propensity. They were driven to it by op-
pression, and continued it from habit. — ^The fascinating qualities
of Irish whiskey, Peter the great's favourite wine, are well
known. In the use of this enticing beverage, even our
English friends, frequently become '' Hibernis Hibemiores,"
when they visit Ireland. During the late wars, the English
soldiery, when ordered hither, felt delight at the anticipated
idea of cheap intoxication in Ireland ; and Paddy, with cha-
racteristic hospitality, always took care to soften down their
prejudices by copious libations of his ** liquor of life," which
too often proved to them liquor of death, by too frequent
potations. Even royalty itself, has owned its potency. One
of our '' staunch" protestant ascendancy aldermen, thought he
could not evince his zeal in a stronger manner, than by pre-
senting his sovereign with a few hogsheads, as a sample of
Irish loyalty. As for poor Paddy, his '* good nature" for the
" native" always overpowers him. Like Boniface in the play,
he eats, drinks, and sleeps on his whiskey. It is often his
only breakfast, dinner, supper, and, in the words of our song,
his '< outside coat." Saving, he never thinks of, and accu-
mulation is out of the question. He generally sings : —

Co\6mr\ <^{ti<^nih n<^ Tcillmn

f/i 6he<^{tn^ibh me 6he chivuinne^^T, -

^Ichc Vei^e^nn 60 yille^bh

Or, with Anacreon : —

*Oti 'yu wiu ro9 oivo^
To^i fboi fAovoy to tUf^o^ .

NOTES. 169

Hence the immediate cause of his^ poverty and wretchedness,
but our wise legislators seem determined that he shall be in-
dulged in his career, at the cheapest rate ; not, of course,
with any sordid view to paltry revenue, but to increase Pat's
comforts : and while potatoes continue to be the necessaries, and
whiskey the luxury of his life, surely it would be cruel to tax
them ; besides, the trifle* he pays for leave to lose his reason
by whiskey, is applied to save his soul by bibles. Kind and
compassionate legislators, continue to supply him with both ;
thus you will at once consult hb temporal and eternal welfare,
leave to the world a monument of your superior wisdom,
and by , thus promoting the prosperity of Ireland, and
placing her above temptation, deter America from audaciously,
perhaps successfully, making love to her on some future
occasion.

Under such auspices, is it surprising that Paddy should
praise his whiskey, as in the humourous effusion before us,
and in numerous otliers interspersed throughout the country.
The present appears to be the production of some repentant
rake, whose praises are intermingled with keen satirical
touches, which seem the result of poignant reflection. It may
be necessary here to rembd the reader, that after the destruc-
tion of the old Irish families by Cromwell, Charles II. and
William III. of England, ^there were thrown in a state of
utter destitution on the world, a vast number of younger sons,
cousins, nephews, Sec. all gentlemen, with abundance of family
pride, but a proportionate lack of worldly means. Their ancient
estates being possessed by English adventurers, several of those
deprived individuals, who were too proud to remain paupers in
their native land, entered into the service of foreign states.
Of those who remained at home, many were long after known
by the name of '' roving blades ;" while others of more ardent
dispositions, under the appellations of Tories and Rapparees,
became the terror of various districts. The latter class is
extinct. The former has been thus described by a modem

170 NOTES.

ymter : — *^ A race of gentlemen, as they call themselves^ who^
too poor to support themselves, are, however, much aboTe
any commercial or manufacturing profession. I have known
some of them without home, wander for months together from
house to house, without the ceremony of an invitation. They
ate and drank freely every where, and it would be deemed a
great infraction of hospitality, to shew them by any indication
that they were not welcome." To this roving fraternity, many
of whose members are still remembered under the appellation
of ** Bucks," belonged the hero of our song, who seems, like
most of his countrymen to have been gifted with more vnl
than prudence. The composition is a finished picture of such
an Irish character.

' The original does not quite warrant this epithet, but we
believe our tour d'expression is national. — T.

' I am no enemy to puns, they sometimes operate like the
little gods of laughter, that Lycurgus set up in every Spartan
home, yet I must assure the reader, that if this word presents
such a quibble of wit, it is not a child of mine. In the
original, the line is " Gin and rum are my fetch, my familiar
spirit," (lei^n^Ti)) I will not presume to say that the conclusion
of this stanza is so literal ; but, vrithout some few liberties,
it were quite impossible to humour the genius of the one
language, and maintain the structure of the other. — ^T.

^ Thb singularly arch address may remind the Bacchanalian
student of Cicero's celebrated encomium on study; but,
while I write these lines where that orator's countrymen weie
once triumphantly encamped amidst all the sublimities of
St. Vincent's rocks, I have no opportunity, and I confess, bat
an equal quantity of willingness, to employ time in iden-
tifying the illustration. Verbum sat. — T.

NOTES. 171

This species of Irish poetry, is replete with wit. The
ori^Dal humour of the following lively passage, in the well
known song, CaUin deas chruidkte na m-bo, will be felt by
every Irish reader. —

\)^z^ 5-qiT 5-C0C 6. m-bi<^6h ynuiii <^ip,
^Isuy Tn<^i3 <^i]i ^ nunn 'cum u^he <^n 6il.

The lover of Irish whiskey can best supply the comment on
the following lines, in the concluding stanza of the same com-
position. —

bo bhibh me-p IA3, Tn<^pbh, price,

*y 3<^n bjiTsh ^nn mp choiy nJL <^'m Ix^imh.

ODE TO DRUNKENNESS.

* The original of this ode, is much, and deservedly ad-
mired. It was composed by some unknown bard, or in Irish
phrase 'Pile ei3in, in the latter part of the seventeenth century,
when the practise it describes so well, was beginning to spread
among the broken down and oppressed Irish. In the year
1792, a translation was published by Charles Wilson, a youth
of promising genius, who, afterwards repaired to the great
theatre of Irish talent, and Irish disappointment, London;
where, in essaying

To climb

The steep where Fame's proud temple shines afar,''

he sunk, like most of his countrymen, unnoticed and unknown.
The following passage in his translation, has been often
praised : —

172 NOTES.

'< At twelve yean old I felt tby charms,

Thy very name my bosom warms ;

Wed to thy sweets, I cannot rove,

And age thy beauties will improve.

Oh ! with thee blest beneath the shade.

In vain dull cares my breast invade ;

When win'try storms would freeze my blood,

Tou add new vigour to the flood :

The purple flood that swells my veins,

Or else when summer clothes the plains,

I seek the shelter of the shade.

If blest with thee, dear melting maid :

O never from my bosom part,

In thy soft durance hold my heart;

In vain without thee friends would smile.

And song the lingering hours beguile.

In vain the mom her sweets would shed,

And pleasure spread her downy bed ;

In vain the rose her tints unfold,

Or lilly spread her summer cold.

Tor thee, what would I not endure ?

Deprived of thee, the rich are poor ;

And who is poor of theepossest.

Thou dearest soother of the breast ?

The covetous, once touched by thee,

Grows generous to the last degree ;

The dumb, thou can'st with words inspire.

The brave, grow bolder from thy fire;

The song without thee now grows weak,

Transparent as the silver lake,

Oh ! quickly on the board appear,

And all my drooping spirits cheer.

Thy joys my ravish'd sense confound,

Soft leaping through thy crystal mound;

What nymph with thee, say, can compare ?

Thy stream, the ringlet of her hair;

Thy crystal ray, what eye so bright ?

Transparent azure ting'd with light.''

NOTES. 173

The " ▼ereicle'' of the poem, which has not been translated
for this work, is here subjoined with Mr. Wilson^s version : —

^l inheiTse ch|i&3che<^ch, bh6uT<^ch, iiih<^iTe<^ch, xh^inh,
It cliybe, qi^nmh^p, iii<^^6h<^, Tne<^Tb<^ \ 3-c&il ; —
fyie-p, ^ ch&le, bheich \m <^on<^]i u^^ir-p IX,
It b^oiT c&lle <^'t c6uT<^6h bu<^n ^n 5<^il.

How often on thy sweets I've hong
Thy charms shall oft employ my tongue;
Still let thy sweets my verse employ,
TVithout thee, what is human joy ?

However smooth Mr. Wilson's translation may be, it wants
the spirit and humour of the author ; but, in Mr. Furlong's, the
English reader has the same advantage in these respects, that
the Irish reader possesses in the original. Our talented trans-
lator has here succeeded with his usual felicity.

• " Each big blue devil/lew off when thou wert near."
This line is not literally warranted by the text, but the nature
of the stanza, will, it is hoped, excuse it.

* ** To many an ancient haute art thou allied"
This allusion to the ancient Irish families, was conceived in
the spirit of genuine satire. At the period when the ode was
written, the habit of drinking, was becoming general among
them, from the causes already stated. They were, at the
time, considerably reduced from their former state of opulence
and dignity ; or, according to my learned friend. Counsellor
Matthew O'Conor, in his History of the Irish Catholics, they
''were involved in one promiscuous ruin. Henceforth," con-
tinues he, ^^'they disappear from Irish history. Their descend-
ants had continued long known and revered, under a cloud
of poverty. A century of adversity, depression, or exile.

174 NOTES.

obliterated every trace of them." The last sentence must, how-
ever, be taken in a qualified sense, perhaps, in a political one.
The ingenious Historian's own respectable family, is, at present,
one out of many distinguished exceptions.

* " Fair Antrim's chiefs, 0*Connell and (yXeaneJ'
In some copies which I have seen, the original reads,
" Yi(i|t ui Chonn^ill &r\M. i bpei^nqiibhe"— O'Connell of
Breantrye, in the County of Clare. The line, however,
as it stands in the text, is the true reading. The family of
Mac Donnell of Antrim was originally Mac Connall or
O'Connell. The following curious extract, relating to the first
of the name, in the North of Ireland, I have taken from the
original Irish Privy-Council Book of Queen £lizabeth, preser-
ved in Dublin Castle.—

** Articles entered into, at the Campe near Dunluce in
Ulster, the 18th September, 1584, between Sir John Perrott,
lord deputy and the rest of the council there, and Donell
Gorme Mac Connell of the Glynnes in Ulster, reciting that
humble sute had byn made by the ladle Agnes Cambell wife
to Turloghe Lenoghe O'Neile, mother to sud Donell Gorme,
and also by said Donell himselfe, that in respecte of his hum-
ble submission, and protestinge by his oathe his loyaltie and
fidelitie to her Majestic, the council would vouchsafe to accept
of hym, and not onelie to graunt unto hym to become a free
denizen of this realme, but alsoe that he might hold so much
of the Glynnes, as were the lands of Mysset alias Bysset." —
By the articles these demands were granted, ** provided that
the said Donell or his heirs, or any of his followers or servants,
shall not serve any forraine prince or potentate within this
realme; nor kepe any Scottes, Init swsh as be natives of
Irelande, without lycense; shall serve with a rising-out, of
fower skore footemen within Ulster; shall not unlawfulUe
intermeddle with any of the borderers of Ulster — shall paie
a yearlie rent of three skore good and lardge fatt beoves at the

NOTES* 175

Niirie (Newry); shall always serve against Saverlie Bwoy
and any other forraine Scoit ; shall preserve to the governor
of the realme, for the tyme beinge, all the hawkes, which
shall be breede in the Glynnes ; shall not drawe to him any of
the followers of Clandeboy, the Rowte or the Ardes; and
shall in all things behave himselfe as a good and faithfuU
snbjecte — Signed Donell Gormb Mc. Conald." — Such
was the origin of that great family, in the County of Antrim.

* Knockgreany — Cnoc 5^^^C9 ^^ ^^^ ^^ ^^ ^un, in the
County of Limerick, from which ^U^ 5p^^^9 ^^ small
County Barony, in that County.

MAGGY LAIDIR.

^ This inimitable description of an Irish feast, was written
in the seventeenth century, by John O'Neachtan, author of
several poetical compositions in his native language, and is
now printed from a transcript made in the year 1706. It is
supposed to be delivered by the chairman, or president of the
meeting, and of such a personage the reader may be enabled
to form a tolerable idea, from a curious account of an individual
of the ancient family of O'Leary, given by Mr. Townsend,
author of the Statistical Survey of the County of Cork.
O'Leary long lived, and lately died at Millstreet, a smaH
town in the County of Cork, and he took a pride in being one
of the last of his countrymen representing old families, who main-
tained the ancient hospitable way of living. " He was known,"
writes Mr. Townsend, ** only by the name of O'Leary. He
lived in a small house, the lower part consisting of little more
than a parlour and kitchen, the former of which, properly
supplied with every article of good cheer, was open to every
guest, and at every season ; and, what will more surprise, this
profusion was accompanied with perfect cleanliness and

176 ^OTES.

decorum. His cellar, well stocked with good liquors, never
knew the protection of a lock and key ; for, as he said hiaself,
nobody had any occasion to steal what any one might have
for asking. It derived security, however, from other causes;
from deference to his sway and respect for his person, both of
which were universally felt and acknowledged within the
circle of his influence. He was also a justice of peace for
the*County. The appearance of O'Leary, was always suffi-
cient to maintain order in fairs and meetings, and to suppress
any spirit of dbturbance, without the aid of soldier or con-
stable. He possessed, indeed, some admirable requisites for
a maintainor of the peace ; for he was a very athletic man,
and always carried a long pole, of which the unruly knew him
to be no churl. To these good qualities, O'Leary added an
inexhaustible fund of original humour and good natured cheer-
fulness ; and being very fond of the bottle himself, it was
impossible to be long in his company sad or sober." — In many
respects, O'Leary may be fairly taken as a genuine represent-
ative of the chairman of our Irish feast.

In point of composition, Maggy Laidir, is superior to
O'Rorke's Feast, so humourously translated by Dean Swift.
Here the chairman only speaks throughout. His first toast
is, old Ireland, under the name of Maggy Laidir. — then the
beauteous daughters of Erin — the ancient families of the four
provinces, Leinster, Munster, Ulster, Connaught — the clergy,
who have been always dear to the Irish — and finally, he wishes
disappointment to the foes, and success to the friends of the
Country. — After these libations, he becomes a little gay, and
must have music. He calls on the harpers to strike up. As
the glass circulates, conversation and noise increase. Finally,
a quarrel, more Thradim, ensues, which our elevated chair-
man, in the true Irish stile of commanding peace, orders
to be quelled, by knocking down the combatants, and he
concludes by alluding to his noble ancestry and kindred, to
enforce his claim to respect and obedience.

NOTES. 177

The air as well as the words of Maggy Laidir, though long
naturalized in North Britain, is Irish. When our Scottish
kinsmen were detected appropriating the ancient saints of Ire-
land, (woul(^ that they rid us of some modern ones,) they
took a fancy to its music. Not satisfied with borrowing the
art, they despoiled us of some of our sweetest airs, and
amongst others, that of Maggy Laidir. This name signifies
in the origin al, strong or powerful Maggy, and by it was
meant Ireland also, designated by our bards, under the names
of Skeela na Chura, Chrauna Weak, Roirin Dubh, Sfc. By an
easy change, the adjective laidir, strong, was converted into
Lauder, the patronymic of a Scotch family, and the air was
employed to celebrate a famous courtezan of Crail.

Although Ireland was always famous for sanctity and
music, and could spare liberally of both, yet our country-
men ever felt indignant at the unacknowledged appropriation
of many of their favorite saints and airs by their northern
relatives. Now and then, some dauntless hagiographer ven-
tured to vindicate, and succeeded in restoring a few purloined
ascetics ; but, until lately, the Irish had other things, more
material than music to defend; and, it was not until Mr.
Bunting appeared, that any effectual effort was made to
rescue our national melodies from Scotland, and oblivion.
The Irish origin of Scotch music has been admitted by the
best informed writers on the subject. Mr. Ritson, however
merely thinks it " by no means improbable.'' Thompson, the
correspondent and friend of Robert Burns, in the preface to
his " Select Melodies of Scotland," says, '* Some airs are
claimed by both countries, but, by means of the harpers, or
pipers, who used to wander through the two, particular airs
might become so common to both, as to make it questionable,
which of the countries gave them birth."* The inspired bard

* Mr. Thompson records some curious anecdotes of Scotch music worth
laying before the reader. "The 'Banks and Braes of Bonny Doon/ was
composed by a gentleman of Edinburgh, who had been jocularly told, that a
VOL. I. N

178 scuES.

himself, in a letter to Thompson, in 1793, menlkmB the
''wandering minstrels, harpers, and pipers, who osed to go
frequently errant through the wilds, hoth of Scotland and
Ireland, and so some favorite airs might he common to
hoth." Thus far only are the modem writers of Scotland
inclined to admit. If space allowed, I could here show the
Irish origin of several airs, claimed even by the respectable
names just quoted, but the fact may appear in the succeed-
ing notes to the original words of the airs alluded to.

Among the many wandering minstrels to whom Scotland is
acknowledged to be indebted for the importation of Irish
music> may be enumerated, in modern times, CKane, the
** famous Irish harper ,'' as he has been termed by Bosweil, in
his Journal of a Tour through the Hebrides, and Laurence,
brother of Thomas O'Cone^lan, a celebrated Irish composer.
The latter was born at Cloonamahon in the County of Sligo,
early in the seventeenth century, and died at Loughgur in the
county of Limerick, some time previous to the year 1700. After
bis death, his brother Laurence went to Scotland, bringing with
him several of the deceased bard's compositions. Of these.

Scotdsh air could be produced by merely ninning the fingers over the black
keys of a piano-forte, which gave precisely the progression of the national
scale. — ^The much admired soQg, set to the Flowers of the Forest, beginning,
' Ive heard o' lilting,' written on the battle of Flodden, though it has been
supposed a production of that remote period, is said to have been written about
the year 1755, by a sister of Sir Gilbert Elliot, of Minto.— A short time
before the Teatable Miscellany, in 1724, it had become very much the fashion
in London, to write and compose songs and tunes in the Scottish style. Some
of these were adopted by Ramsey ; and, by this means, have obtained a place
among our popular airs, though they possess very little of the Scottish cha-
racter. The composers of those airs, from Doctor Green down to Doctor
Ame, seem to have adopted a kind of conventional style, which they chose to
call Scottish ; and, a good many of their airs having found their way into
Scotland, have become naturalized among us." — Prefaee. Had this ingenious
collector candidly made the latter admission, as to our Irish Melodies, he
would, indeed, have proved himself entitled to the character of a " sturdy
moralist."

NOTBS. 179

two, from their celebrity, deserve particular notice, yiz.
** Planxty Davis," since well known as the '' Battle of
Killicranky," and a prelude to the ** breach" of Aughrim,
universally admired under the name of " Farewell to Loch-
aber." According to tradition, O'Conellan composed upwards
of seven hundred airs, which he played on the hafp ; but of
these comparatively few have been preserved. His cha-
racter, as a performer, may be ascertained from the following
little ode, said to have been addressed to him by a cotemporary
bard, whose name has not survived. •

016 60'<h C-T'^lC^l C01<ht>C^lbll2l<h.

%\ Yh1o5h<^ibhe, ]iu3 ffo|i-3hn<^oibh

^'T pu^ijt {^oin-c-ylrjh plnojt-cli|iPiblie

^<^ cceSl <^TnAch,
It biomhAoTn y\^i\y^\h\\Q

^^ h-Co[ip<^ ch^jtc,
6' &T chiTnch'Tbhe Tnli<^oitbh<^i5he

bo mheofi IA3, ni-bjt<^x.

^I'l Tm^nn-chitolbhe (^3 jtTo3h|i<^i6be

4l<^ h-e6pp<^ <^ili p<^b,
4l<^c>i nnni3hdie<^ii le m^feh-TCjiib

60 mhe^p 30 pftAb^
60 cblA^chlolbbiT |ie )p<^feMioTnh,

]le 3ecin bo 3hlAc,
^l yhi03h<^ibhe, piTine po3hbhpui3he

4)<^pbUThlAb.
n2

180 NOTES.

Chum b^]i 3<^ch be^^pc,
^I'r le bh-p^oifi3he<^nn cU-phUn

5<^ch bpeobh-choipp IA3 ;
<l|ia A&i c-T<^di n^ch cU^n tnbh

'Zl iTon^lbhe, fie b' Tlfi03li<^'Tbhe<^clic
bh<^ine<^X ceobh be |'c<^ijic.

ODE TO O'CONELLAN, THE IRISH MINSTREL.
TRANSLATED BY JOHN D'ALTON, ESQ.

Spirit of Minstrelsy !
Supreme o'er Erin's bards thy sway.
To thee the silvery sounds belong,
The thrilling sympathies of song.
The warblings of an angel sphere.
That Europe's minstrels when they hear,
O'erpowered— enchanted— pine away-
And yield the palm to thee !

In vain do mighty kings
Invite the world to bardic feats ;
To try the mastery of thy art.
To fire the soul or melt the heart;
Immortal one ! thy glowing hand
The wilder music of the land

Hath silenced.— Echo but repeats
The magic of thy strings.

NOTES. 181

And they — the gentle ones.
The fairy spirits of the hill.
That used to breathe so softly round
Our midnight dreams— ecstatic sound !
Are silent all ; for only thou
Canst wring the tear, or smooth the brow,
And charm the heart's pulse with the skill
Of more than mortal notes !

That this vivid description of O'Conellan's performance
on the Irish harp is not altogether the result of poetic fancy,
may be easily shown. Not to tire the reader with many testi-
monies of the power of this ancient instrument, I shall be con-
tent with one only, and that, perhaps, the latest, but certainly not
liable to any suspicion of prejudice or partiality. Mr. Gunn,
of Edinburgh, in his '' Historical Enquiry respecting the per-
formance of the Harp, in the Highlands of Scotland,'' printed
in 1807, says, <' I have frequently heard it related of O'Kane
the celebrated Irish harper, that he very commonly drew
tears from his auditors. During my residence at Cambridge,
Manini, our first violin, often spoke of the performance of
O'Kaiie with great rapture ; assuring me that, together with an
astonishing variety of other things, he could, although blind,
play with great accuracy and fine effect, the first treble and
bass of many of Corelli's concertos, in concert with the other
instruments." — ^The strains of Patrick Quin, an old Irish
harper, who performed publicly in Dublin in 1809, are still
remembered with delight.

' <' The madder fiU with right goad toill."
The madder was a wooden drinking cup, formerly much used
in Ireland, but at present to be found only in the western
districts.

182 NOTES.

' *' Long as of old nuiy Cmmaugki hold
Her boast of peerless beauty.'*
Conn^chc n^ Tn<^i3hbe<^n Tji^^mh^ch — Connaught of
beauteous maidens. — This province has been long celebrated
for female beauty. Limerick stands similarly distinguished.
It has been remarked by a witty French traveller, that the
" women of Limerick are more celebrated for their beauty,
than the men for their understanding," but of him it has
been observed, that however qualified he might have been to
appreciate the former, he was too superficial to be able to form
a judgment of the latter. Very difierent is the description
of the men of Limerick . given by my excellent friend
Mr. Mc. Gregor, in his History of that city and county.

* " The harp rings clear.*'
** Among the Celtic nations, the harp was in the highest
esteem. The great Theban harp in, and even before, the time
of Sesostris, was possessed of power that has made even
modem musicians doubt the authenticity of its history. But
in no country has the harp been in greater estimation than in
the British Isles. It has been the national instrument of these
countries. The Saxons were passionately fond of it — Dooms-
day Book mention^ it — Bede is lavish in its praise. In Wales,
it is delivered down to us, that it was so requisite that every
gentleman should play the harp, that it was sent round after
supper to each person in the company, and that one who could
not execute on the instrument, slunk away from the banquet
ashamed of being unacquainted with the accomplishments of a
gentleman. In Ireland, the true land of the harp, its entire
history presents such an endless variety of anecdote, both of
the instrument and the bards, its masters, that it is unnecessary
to trace its antiquity amongst that people ; indeed one of the
first mentions of it, speaks of the two brothers, the leaders of
the Milesian Colonists, disputing which should have the

NOTES. 183

harper, and wUch the ^^U" -^ LUerary RegigUty October
26, 1822.

Mr. GuDn, io the treatise before referred to, states ** that
from the middle of the sixth until the end of the twelfth
centary, singing to the harp was considered an indispensible
part of the education of the upper ranks of society ; and at
their festiyals it was customary for the harp to be handed
round, and each of the company in his turn to sing to it-^This
custom was introduced from Asia with the harp itself. It was
probably during this period that the separation of poet and
musician in the same person, at least, that the separate pro-
fession of a minstrel, or merely instrumental performer, took
place in Ireland."

The harp continued io general use in this island until the
middle of the seventeenth century. In an unpublished
History of Ireland, written about the year 1636, now remain-
ing in manuscript in the library of the Royal Irish Academy,
Dublin, we are told that, '' the Irish are much addicted to
musick generally, and you shall find but very few of their
gentry, either man or woman, bat can play on the harp i alsoe
you shall not find a house of any accoanty without one . of .two
of those instruments, and they always keep a harper to play
for them at their meales, and all other ttimes^ as often as they
have a de«re to recreate themi^elyes, or others which comes to
their houses, therewith." — During the troubles after 1641,
when a war of destruqtion w^as waged against every thing
Irish, Lynch, in his Cambrensis Eversus, informs us that the
harp was broken by soldiers wherever it could be found, and
adds, '* the memory of its form and m^vials will be unknown
and lost to our immediate posterity*" The war of 1683, which
completed the . doivnfal of the ancient Irish families, also
silenced their national instrument. A solitary harp might
occasionally be heard emitting mournful sounds over the fallen
fortunes of the country, but it was no linger in general use.
It seems to have been destined not to suivive its masters. It

184 NOTES.

is Dot, perhaps, going too far to say that, but for the patriotic
exertions of Mr. Bunting and the gentlemen of Belfast, in
1792, and of the talented but eccentric John Bernard Trotter,
in Dublin, in 1809, the Irish harp would now be numbered
with the things that were, and '' the memory of its form and
materials'' preserved only by the antiquary or historian.

* In the " feast of O'Rorke," translated by Dean Swift,
a similar passage occurs : —

,2U:h<^ili n<^ n-3|i&T<^ ce be chi|:«^6h <^ti sh^TT*^'^^*
l^ji lion<^bh \ cecfioicne, ly ^ I6ij&bh j^n 61.

Good Lord, what a sight! after all their good cheer.
For people to fight in the midst of their beer !

From this admitted propensity of the Irish, (although it is
well known to be one of the many evils resulting from their
political, degradation,) an English antiquary, well skilled, as
may be supposed, in the matter, employed many words and
some learning, to prove us descended fVom the ancient Thra-
cians. For this purpose he adduced the excellent lucubrations
of that admirable essayist. Doctor Ledwich, in Atl antiquities
of Ireland, and the equally good authority of Horace: —

Natis in usnm laetitise scyphis
Pugnare, Thracum est.

But leaving this important point in the hands of such
able investigators, we choose rather to address our fellow
countr3rmen in the succeeding words of the same poet : —

Tollite baibarum
Morem, verecundomque Baoehum
Sanguiueis prohibete rixis.

NOTES. 185

6 '' O'Mare the teugh, and big Branduff,
These are my blood relations,*'
The ancestorial pride and inflammable composition of the
old Milesians, are humorously described in this poem. The
following fragment, by Hugh M'Curtin, containing a similar
description, is intended for the Irish reader: —

2ln c<^n ch&bhi6 pn le chm 'r\ ^ T3u<^iTie <^3 51,
^ y^^b^Ji ^ n-&]Te<^chc le pu<^iTn ^ n-3eon ; —
?ln c^n ch&chpb ^ m-b^ulA 6. 3-cu(^cli<^ibh ceoch,
beibb ^ n-5<^$l le 3<^c]» <^en be'n n-u^^iyle ly wo.

6e<^|i):Ay ^n b[K^^b<^i|ie ly bu<^i6he<^pdi<^ be'n 3-c$ip ; —
*' Ij- m6 p^in \'x mo ch&le ly u^^iyle <^ip bopb;
ll" 6 €ibhiit, m^^c €ibhinc fco shlu^^iy mo ph6p,
?1'T ca 3^el <^3 u<^ ^Pjeill, 6<^p 6u^ch ! le [VIop."

be<^py<^ibhe<^p 6j\ c-eiche<^ch 3<^n pui^p^&h bho ;
QVy beibh tp&ce ^3 3<^ch ^en <^c<^ yu^T '" ^ ^'^^^^ ^
pi6ux3ip<^ib ^ cheile le cu<^p3<^bh yqi$ic,
^X Mf bo3, peubch<^ bhi5he<^T b^ul <^c<^, clu<^)-<^ <^'t ni$n.

Branduff, (Brandubh,) was a victorious king of Leinster,
who flourished about the close of the sixth century. From
him descended the O'Byrnes of Wicklow, who, during cen-
turies, were the terror of the colonists of Dublin. For a
detailed account of the spoliation of this ancient family, see
Carte's Life of Ormond. This English writer, notwithstanding
all his prejudice, admits that, " This case contains in it such
a scene of iniquity and cruelty, that, considered in all its cir-
cumstanceS; is scarce to be paralleled in the history of any age
or country.'* The respectable family of Cabinteely, in the
county of Wicklow, now represents this ancient house.

Tradition, and an old manuscript in my possession, state,

186 NOTES.

that the chairman of the feast in Maggy Laidir, was intended
to represent a member of the O'Kelly family, whose ancestors
formerly enjoyed considerable possessions in Leix, (see p. 115.)
where many of the name still remain. To tbis ancient family
the narrative which follows, principally relates. As it is es-
teemed curious, and has never before been published, it is hoped
that it may not prove altogether irrelevant or unuteresting.*

In the year 1679, Fergus O'Kelly of Leiz, married the
daughter of O'Bymeof Gleamalare, in the county of Wicklow.
The young lady remained at her father's until a suitable ffoiie-
toall htnue should be built by her husband for her reception,
there being but few stone buildings at that time in the Queen's
county. For this purpose O'Kelly set a number of his
tenantry to work. The building was commenced on a Monday
morning in spring, it was completed the Saturday following,
and the bride was soon after brought home with great rejoicings.
This house was then called the week house, and its ruins are
now known by the name of the old stone.

It happened that on the following Michaelmas-eve, O'Kelly's
lackey, Mac Leod, was from home. On his return he found
that none of the goose had been reserved for him. Of this he
complained to his master, who desired him to settle the matter
with the cook, or go to the yard and kill a goose for himself,
but not to trouble him with such trifles. Mac Leod, dis-
appointed and dissatisfied with this answer, departed, resolving

* This narrative is taken with very little alteration in words, and none what-
ever in substance, from a manuscript lately found after the death of Garret
Byrne, a worthy old Milesian, who resided at Fallybeg, in the Barony of
^Ballyadams, the scene of the principal transactions which it relates. The
paper was indorsed — ** A traditional, tho' certain, account of the transactions
which happened in and about Logacunen and the rest of O'Kelly's ground in
that neighbourhood, beginning in the 22nd of Queen £lizabeth'8 reign, as told
by boddered Catherine Mc. James (who served seven years apprenticeship in
O'Kelly's house,) to old Edmund Cowen, and by him to me ; the rest by
people who recollected it themselves, and I myself remember what happened
from the year 1720 to this year 1780.<-*Gabbst Bybke."

NOTES. 187

to Seek rereage. He immediately repaired to the Earl of
Kiidare's * castle of Kiikea, where he remained until Christmas-
eve, and then told the earl that his master^ O'Kelly, had sent
to inrite his lordship to spend the Christmas with him. The
invitation. was accepted, and the earl set out with a numerous
retinue for O'Kelly's residence. When they came to the top
of TnUyhill, near the house, Mac Leod gave three loud calls
or signals, as was customary with lackeys in those times. His
master hearing them said, that wherever Mac Leod had been
since Michaelmas, that was his voice, if he was alive. He
soon after arrived and announced the earl's coming, who was
received with due honor and attention. His lordship about
twelfth day began to prepare for his departure, and expressed
the greatest satisfaction at his kind reception, and the friend-
ship of O^Kelly, whose hospitality, and particularly the
profusion of his table, he highly praised. O'Kelly observed
that it should be more plentiful bad he been aware of his
lordship's intention to visit him. The earl, surprised, asked if
be had not sent to invite htm. O'Kelly replied not, but that,
notwithstanding, his lordship was welcome ; and added that, as
he had been pleased to remain until twelfth day on his lackey's
invitation, he hoped he would honor him by remaining until
candlemas on his own. To this the earl assented, but requested
that, as he had so many attendants, he might be at liberty to
send occasionally to Kilkea for provisions. O'Kelly answered
that as soon as his lordship should find the supplies beginning

* This was Gerald the eleventh Earl of Kildare, to whom in October 1579,
the custody of the north borders of the English pale was committed. The year
foUowing he was suspected of favoring the Irish, and was sent in custody to
London, where he was imprisoned in the Tower ; but having acquitted himself
before the queen and council, he was restored to all his estates. Then it was
that he presented to the Royal Herodias of England, the head of O'Kelly.

The castle of Kilkea was situate on the river Greece, in the barony of
Kilkea and Moone, county Kildare. For a view and description of this
castle, see Anthologia Hibernica, iv. 241.

188 NOTES.

to fail, he might do so, but not before. Accordingly the fare
increased, and. the banquets became more sumptuous than
ever. When candlemas arrived, his lordship departed with
many professions of gratitude, having particularly request-
ed that he might have the honor of standing sponsor for
O'Kelly's first child, in order more closely to cement the
friendship that subsisted between them. Mrs. O'Kelly was
soon after delivered of a son, and his lordship attended the
christening, which was celebrated with great pomp and re-
joicings. The house was filled with guests, and resounded
with music and merriment; but the morning after the earl's
arrival, the poor young lady and her infant were both found
dead. This melancholy catastrophe was attributed to the
boisterous revelry and noise with which they were surrounded.
0'Kelly*s joy was turned into sorrow, but even this was only
a prelude to still greater misfortunes.

Kildare remained for some time to console his friend, whom
he invited to Rilkea until he should recover from the effects of
his grief, offering him, at the same time, his sister in marriage,
and profering his service in any other way which might be
most agreeable or acceptable* Unfortunately for O'Kelly he
accepted the invitation, and fell, an unsuspecting victim, into
the snare which had been insidiously laid for him. A few days
after his arrival at Kilkea, the earl took him to the top of the
castle under pretence of viewing the surrounding scenery;
and with the assistance of some ruffians, whom he had placed
there for die purpose, he cut off O'Kelly's head. This
atrocious and treacherous murder was soon communicated to
the queen, as a meritorious proof of Kildare's loyalty in
beheading an Irish rebel ; and her majesty was so well pleased,
that she directed a grant to be forthwith passed to the earl, of
all O'Kelly's estates. The earl being of English descent, an
Irish bard applied the following verse to this perfidious
transaction:—

NOTES. 189

4j<^ 6^n cow^nn leipe<^it 5^llM
^^ Shmbhip n1 ipeipjibe bhuic
l)eibh choibhche ^\\i ci bo Tnhe<^llc^
QI3 pn coTTK^nn ^n -phip 5'i<^ll^1i^ pi^c.

With one of English race all friendship shun.
For if you don't you'll surely be undone ;
He'll lie in wait to ruin thee when he can,
Such is the friendship of an English man.

And such have been the aggressions which so long con-
tributed to keep the people of these islands in a state of
disunion and enmity. In former times, practices similar to
that related were but too frequent in Ireland ; and dreadful,
though just, were the reprisals made by the natives, on
the English settlers. — But to conclude —The earl of Kildare
soon after demised his ill-acquired possessions in O 'Kelly's
lands, to his illegitimate son, Garrett Fitzgerald, at a nominal
rent.* This Garrett had a son named Gerald, who was after-
wards known by the name of Old Gerald, and long remembered
for his atrocious cruelties. He possessed the estates for a
long time, and was a great improver. He built where the old
orchard now stands at Logacurren, and planted many trees,
the last of which were cut down in 1740. He also made
several roads, one leading to Rahinahowle, another called the
Long-lane, to Timogue, and another through Barrowhouse,
being part of O' Kelly's estates, and he planted many orna-
mental trees in each place. When making these roads he
yoked a plough of bullocks, drew a strong chain round some
poor widows' cabins which stood in the way, and pulled them
down. He surrounded Logacurren with a broad doubly
ditch, and planted quicks on both sides ; on these works he
employed Ulstermen, whom he paid in cattle, with which they

* This demise is mentioned in Lodge's Peerage of Ireland, Vol i. p. 97.

190 NOTES.

I
departed for home, and remained &e fitat nigfat at Portnabinch.

Gerald pursued them with an armed force, under pretence of
robbery, and the unfortunate men, haying made some resistance,
were slain, and the cattle brought back. Soon after this, he
bad a dispute respecting some incroachments which he bad
made on a neighbouring gentleman. It took place on the high
road, and after some altercation, Gerald proposed to leave
the matter to the decision of the next passenger, who he knew
would be his own cow-herd. The poor man was accordingly
required to determine the point, and be immediately decided,
according, to justice, against his master. This so enraged
Gerald, that he took the cow-herd and his son, and locked
them up in a stable in order to hang them. The cow-herd's
wife hearing the danger in which they were placed, came
crying for mercy, offering all she was possessed of for their
ransom. Gerald told her if she brought him her twelve cows
and her bull, they should be released. The poor woman hasten-
ed home overjoyed for the purpose, but on her return found her
husband and son executed. Gerald, however, kept the cattle
for permitting her to take away the dead bodies, over which
she mourned in a doleful manner, mixing her wailings with
bitter imprecations against Gerald, as follows, in Irish : —

'^ 71 3he<^p<^iU: 3he<^i|i|i '^r\ 3h<^ipe 3honc<^ — ']p^y<^ch 50
c&ipye^^ch 60 3he<^c<^ — &pireo3 <^3uy ^ bK che^r\r\ ly dn
6-c<^lm<^n — loch u<^ichne i^ip *u<^chb<^|i fco h-<^llA. — ^e^b
^n c-Ye<^bh<^ic ^ b-poll 6r\ be<^c<^ic]i — ^^l3ui- c<^c nA
n-3<^bh<^|i ^nn <<ic bo le<^bch<^n — (Vli^ji bo bhu<^in cu bWom
^n |7l<^c 'i" ^f\ c-7lch<^i|i — ^bhu^in cu b\uom Aj\ 6i( bh$
bh^u3 'x &n c<^[ibh — ^2l3ui- oi3h|te<^c]ic n^'p 'ph<^3h 5*

** Oh ! Gerald of stinted growth and laugh of guile— may
desolation reach the threshold of thy door — a bramble with its

NOTES. 191

two ends in the earth— a green lake overflow the surface of thy
hall — the hawk's nest in the chimney of thy. mansion— and
the dung of goats in the place of thy bed — because thou didst
bereave me of the son and father — thou took'st from me the
twelve cows and bull — an inheritance may your heirs never
find/'—

All which, as will appear, were speedily fulfilled. Gerald
continued his career with impunity, for a considerable time,
until at length he fell foul of the Earl of Kildare's agents,
when they came to demand the trifling chief rent payable out
of O'Kelly's lands. After this his lordship declared against
Gerald, and had the estate advertised and sold. It was
purchased by one Daniel Byrne, well known by the name of
'^ Daniel the tailor." Gerald was finally dispossessed, his
dwelling laid waste, and the possession of the entire lordship
delivered to the purchaser. Then it was that the imprecations
of the cow-herd's wife were fulfilled ; for Gerald losing the
inheritance, destitute of friends, and execrated by his neigh-
bours, was obliged to build a little shed in Clopook, and was
glad to become keeper of a sodtoall pond. Here he had no
support but the milk of two goats, and these animals frequently
lay and dunged in the straw on which he slept, as was prayed
for long before by the cow-herd's wife.

Several other particulars relative to the Byrne family and
the Fitzgerald's are contained in the manuscript alluded to,
but although they might by many be esteemed curious, they
are here omitted to make room for other matter more appro-
priate for the present work. The Irish reader will, no doubt,
be satisfied to find their place supplied by the following
popular drinking song, by Andrew Magrath, a bard of the last
century, well known in Munster by the name of the Mangaire
Sugach.

192 NOTES.

l)ubh 3hn<^ch liom Tpui|ie<^c>i oibbche ^r\n

*ll3UT buibhe^^n Tbulcnib<^|i T^F^,

'Zl3$l rl^ince ^m chimchioll. —

^^ji bubh mbi^nn liom <^n c-^|icb<^cb,

bbeirb Un 3<^n 6.^r\ cblnnce^^cbc,

ll^uj ^6.x\i^ib}\ bbiie?^3b, 3bji&bbmb<^|i

^&> 3bn&cb<^cb <i bbacb cinnce.—

Yiub ope vein 'r ^" 3-^^Fj

7i p(iin-3bil T^ibb le m'^^iy,

Wbb tu3<^cb <^'r ^l' *><> bbp<^iii,

QVy ^n ccp(ir3<^-p 3<> W^Tj

50 n-6iii3^iTn ^ 30 CTie<^T>

50 n-3lAobh<^ni cuillMbb ^ rce^cb,

^iy ^ cbp&n-pbip n<^ qi&3 we,

5t$p pibe ^3UT bbeibblin,

^I'X ceol cpmce 3^11 <Cinibpe^r>

<h|1op mbop liom ^ bbeicb ^m cblmcbioll,

*Zl3 61 puncb 30 me<^6bp^c,

<h|o be$ip iTK^icb ^3ui- Cftep,

ly i<^b bo 6bii43<^bb le b-lnnnn.

NOTES. 193

T 5^ ni-bubh leop liom Tn<^|i t>i<tfbhbh|ie<^r>
l<^b 60 itti|3<^bh le h-<^bhm<^b,

fVli^p bo'b -phonn i-m Tn<^]t <^chc,

^13 much le cuille^bh chg^chc

^213 ol rUince<^6h<^ ch&le.

11 chuii>e^chc<^ bh|ie<^3h, bheux<^ch,
21 tK c<^obh liom 'f <^ 3-cuibhjie<^Tin,
^"^ TS^PPT^TTi le ch&le,
50 n-3Uo6h<^m cuille<^6h p1on<^;
^213 p rl<^iTice 3<^ch cpen-phip
6o'b pheile, <^'r bubh r<^o1che,
T n<<'|i chuip <^ 6-c<^ir3e b'<^ 3h<^olc^
5<^ch <^ii i-h<^och|iui3h t^ le cpion<^chc.
fVI<^|i Tnhe<^y<^iTn be^jtc 3<^cb ein ne<^ch
bo ch<^ich 6k chopomn ^y <^ p&ul 3he<^l
'Tf <^ li<^ehc T3iu^ni<^iiie 3<^n ch&l
60 Tne<^lU6h pii" <^n c-T<^03h<^l,
2i zK noiy ^3 6peo3h<^6h 'y <^n cc]!^,
Tpip <^3 <^ mnc^ibh &'il n-b&r,

T '^^ 3^" ph|ie<^b ix^ iTocc *y <^n ce<^Tnjioll.

VOL. I.

194 NOTES.

Here, on taking leave of our Bacchanalian Compositions,
I consider it but due to my country to observe, that a single
English writer, Walter Mapes, Chaplain to Henry II. has
left behind him more licentious and irreligious verses, than the
utmost misapplied industry could collect throughout the whole
range of ancient Irish Literature. — See CamdetCs Remauu. —
Even Martin Luther the great Apostle of the Reformation, as
a profane b<m tfivant, has excelled the best of us. Witness
his own description of himself. ** Possum jocari, potare, sum
facetus convivator, saepiusque bene bonum haustum cerevisiae
facio in Dei gioriam.^'—ColL Franco/. /. 445.

From among the many sprightly songs which once were
favorites with the roving fraternity mentioned in page 170,
the two following are selected for the Irish reader. The first
is named from the town of Moat or Moatagrenoge, Co. West-
meath, and was generally sung to the well known, lively, and
comical air of that name. The other is the original ** Twistii^
of the Rope.''

MOCll ^\)\iin<t]<t]t 015-

yhiubh<^il we-p Cijie -p^ bhS,

lonsTK^bh nt "phe^^c^^T h^ nih6
'4l<^ bu<^cb^ill Ti<^ Tn-b6 3^11 3inile<^cc.

^l, d (iuIti ! Ql'r 3<^iinm chu.

'^^T 3he<^bh<^i6h cu 6j\ shUTp m^ chuille<^nn
cu.

NOTES. 195

'X <^T cp"^3^ 3^^ ^^ PqT<^ <^3 6iiine ^c^
pil ! -pll, 6. fium i
"^ill ^ ]tuin ! ^'y 3<^iinTn chu
pil ! i:ill ^p&m !
II3UT 3he<^bh<^ibh cu <^n 3hl$iit mii; chmllednn

c^iir^ifci) 'ji<h c-yus'zn^

^<^ch 6 <^n c^ch TTK^jibh ch<^T <^nn n<^ h-^ice-p nig,

Chi^inic me |Te<^ch 'i* <^n ce<^ch |i<^ibh spi^bb 30^1 mo

cbleibh,
'X cbuiji ^n cb^ille<^ch ^m<^cb, ^\\i ch<^x<^bb <^n c-tii3<^m

me.

fyi& bhibbe<^nn cu bom \f\bh bom 60 lo <^*t b'dibhche,

^& bbi6be<^7iri cu bom bibb bom $t comb<^ip <^n z-x^i^^hil,

\A^ bhibbe<^nn cu bom btbb liom 3^cb $pbU^cb 6nn bo

cbp$ibbe,
Y 6 mo \&un n<^cb bom qt^cbniiK^ di m<^p mbn^^oi.

o2

196 NOTES.

6^|i b|ii3h mo bh<^i-<^ mund leispbh bh<^mh-|'<^ m<^|t d d^im.
to^n-pi^ibh me cle^^y <^ blK^m^pe^^y pubh<^l <^y nd mn&ibh.

The foregoing are given only as specimens of a class of
song formerly fashionable with the ''Ranting Irishman," a cha-
racter somewhat resembling the '' Drunken Barnaby" of our
English neighbours, but now rather rare in Ireland.

PART II,

SENTIMENTAL SONG.

** Leurs compositions sont d'une grace, d'une moUesse, d'an
rafBnemeutySoitd'expression, soit de sentiment, dontn'approche
aucunpeuple ancienoumoderne. La langue qu'ils parient dans
ce monde k leur maitresse semble ^tre celle qu'ils parleront dans
I'autre k leurs houris. C'est une espece de musique si touchante
& si fine; c'est un murmure si doux; ce sont des compa-
raisons si riantes & si fratches: je dirois presque que leur
po^sie est parfum^e comme leur contr6e. Ce qu'est Thonneur
dans les moeurs de nos Paladins, les imitations de la nature le
sont dans les poemes Arabes. La c'est une quintessence de
yirtu ; ici, c'est une quintessence de volupt^.

Raynal — Hist* PhUosophique, ^c. SuppL Tarn u.

SENTIMENTAL SONG.

Ihe glowing description of Arabian Poetry given by the
elegimt and philosophic historian of the Indies^ may with
tnitl and propriety be applied to the Sentimental Song of
Irelffid. The resemblance between them indicates the same
orign. The grace, softness, and refinement in ezpres-
lion and sentiment, which distinguish the voluptuous com-
]Ositions of the East, are found, even to exuberance, in
tie passionate effusions of the Irish. The rich and varied
ascriptions of beauty and natural objects, with which this
cvine art abounds in both countries, will be sought in vain in
te national poetry of any European people. '* The Irish
pems," says the venerable Vallancey, '' have none of that
^d barbarous fire of the !Northems ; all that I have seen are
mral, replete with oriental imagery."* — But the affinity

He compares an Irish poem with the Arabic poem of Old^Zoheir,
tranated by Sir William Jones, and declares that nine words in ten are
purChaldaic and Aiabic.<^iS<M Spmrnm cf a Dietunary, Sfe.

200 IRISH MINSTRELSY.

between the language of Ireland and that of Arabia, is, even
still more remarkable. Those best capable of forming aa
opinion on the subject, have not hesitated to pronounce then
to have been anciently the same. These are circumstances
which can be accounted for only by the Eastern descent of t3»
ancient Irish, as related in their early annals.

Until of late years the beauties of oriental poetry were JUt
imperfectly known to Europeans. The learned labors of Sir
William Jones, and of Professor Carlyle of Cambridge, first
enabled the English reader to enjoy the sweets of the " per*
fumed" compositions of Arabia ; but the recent translatio of
the poem of Antar, from the language of that country, >ub-
lished under the title of a Bedouin Romance, is the nosi
valuable addition that has as yet appeared to this class o
literature. With these specimens an opportunity is no^
afforded of comparing some of the relics of Irish song. Tha
our national muse will answer the description already givei
or at least, that it it will not materially suffer by the cod*
parison, is rather confidently anticipated.

The aptitude of the Irish language for lyric poetry has b^
often observed. The number of consonants, rendered quiescftt
by elision and aspiration, preserves its harmony and cadeie.
The broad and slender vowel sounds are capable of bog
disposed with such variety and effect, that, as has len
already observed by my ingenious predecessor Miss Broce,

SENTIMENTAL SONG. 201

the poetry of many of our songs is indeed already music with-
out the aid of a tune. Some of these qualities in the Scottish
dialect of tbe English tongue have flung peculiar charms round
the rural poetry of Scotland. The soft and sweet language of
the Italians has been deservedly celebrated for imparting those
essential qualities to their admired productions; but in all
the graces peculiarly requisite for lyrical composition , these
languages will still be found to fall short of the Irish. In
this assertion I disclaim all national prejudice, but the proofs
in support of it are now before the public , and will be criti-
cally examined by many infinitely more capable of judging
than I can pretend to be. One pervading feature in all our
songs cannot fail of attracting attention, namely, the exquisite
choice and position of words which give full tone and eflFect to
the principal notes of the melodies with which they are asso-
ciated. The Irish singer will immediately feel the force and
assent to the truth of this observation.

Amidst all the misfortunes of Ireland, and it has had its
share, the iron hand of oppression through a long series of years
has never been able to erase from the land the more tender
sympathies of the heart. The devotion and affection for the
fair which have ever characterised our youth, are still fondly
cherished by them with chivalrous enthusiasm. Sentiments
of virtuous love were never more delicately or fervently ex-
pressed than in the* ancient relics of the pastoral muse of
Ireland. The language in which they are conveyed is chaste.

202 IRISH MINSTRELSY.

elegant, and pure, and the imagery which they present, is a
faithful delineation of the most captivating features of natnnd
scenery and rural beauty. The blossom bloom and fragraoce
of the flowery ornaments of the garden and field — ^the chami-
ing verdure of our bland of green — the murmur of the water*
fall — ^the sparkling of the dew— the plumage of the swan, and
the mildness of the dove — the sweet notes of the cuckoo, the
black-bird, and the thrush, and the liquid gold of the bee,
perpetually occur, and continue to heighten tlie rich deacrip*
tions of female beauty contained in these rural effusions.

In the present part of this work will be found some of the
most popular songs of Ireland ; the original words of those
charming melodies which have raised the character of our
native music beyond that of almost any other country. These
combinations of sweet melting sounds, refined sentiments, and
ardency of expression, addressed to the tender virgin, the
adored object of virtuous affection were irresistable. They
seldom failed to reward the happy swain with the heart
and hand of his beloved. To the fascinating influence, of
these songs have been attributed many of the early marriages,
and much of the '* superabundant" population of our country.
This, no doubt, will be deemed a new discovery in the science
of political economy, and as such, is respectfully offered to
the grave consideration of the Malthuses and Hortons of our
day. Although I may incur the censure of these wise
depopulators, for contributing to increase this national evil.

SENTIMENTAL SONG. 203

by circulating such alarming marriage-making ballads as Eileen
a Roon — Cean dubh dUeas — Molly a itare — Coolm — Mary of
Meelick, and many other soul breathing ditties to be found in
this collection ; yet under such censure I shall feel quite at
ease, if my humble labors prove successful in rescuing even
a small portion of the neglected poetry of my native land
from oblivion.

It may be necessary to observe, that, as far as I could
discover, one only of the following originals, namely, Eman
a Knock, has been hitherto printed. Translations, or rather
imitations, of a few, are current among the people ; but these
attempts are of so mean a description, as to be wholly
undeserving of consideration.

204 IRISH MINSTRELSY*

b]tl51)6l<li p2l6]tUlC.

60 6he<^pc|:<^6h bpishfcin p&b|tuiCj

Ch^|i mhn^ibh be^y^ ^" c-f^osh^il ; —
21 r^ile ^r 3^ire 6e<<llp<^6h

ly citiinj bpe&sh, be^x ^ ^ S^ipe,
'']f 1 1T &ilne <^i|i bich m&nn.

CJ^'li bh'ion3n<^6h i:€<^ii<^ t<<iI

bheich clAoTbhce xe6X ^ n^^bh lei,
Cfi^ch cHibhiTn ^n -ph^oileAnn ^luinn

50 TC<^nn|iui3he<^nn fi me,
'y A doch<^ c<^ilce c&|i|i<^in3che,

fyi<^fi Tcpiobh|H^16he ^ b-ppionnb^ pf^<^pir9
1* ^ plob nK^ji e<^l^ <^i|t l&n-Tnhuifi,

'X^ bh^ri"3he<^nn 3<^ch ^6n.

SENTIMENTAL SONG. 205

BRIDGET FERGUS/

BY JOHN D'ALTON, ESQ.

What chief of Erio's isle with coldness could regard, •

When wandering o'er

Our western shore
The flower of Rahard ! "

Her eyes so blue,

Like glistening dew
On summer rosebuds seen ;

Her smiles so bright;

Her heart so light, —
Her majesty of mien!

What wonder Erin's sons should be spell bound in her
gaze,
For when I chance
To catch her glance,
I startle in amaze.
A swanlike grace
Her neck displays ;
Her eye what witchery tells !

206 IRISH MINSTRELSY.

6o'n ]Uch-^ji6 nnn m^ cheifcho^nn cu,

2I3 beA|tc<^&h mhn^oi tk^ m€u|t 1^3,
b|ii5h&m 6he<^T ^^ n-^ol-chpobh,

<I11 iK^^h^l 6uic-re ^b&x:—
^y 1 An mhuince, mh^^ij^ch, Tnh<^oftbh<^^ "

^A 3-C]t^obh-'pholc m-bticlAch, b-p^uplAch
• 5^ bUich <^3 te^kchz le ch&le

*Y <^3 clAoTK^bh <^nn A m-b^pp.

It thIItc bl^T A heil c^^if,

'<H<^ inil ^3 pll«^6h Aj c*^^'!^ bhe<^ch,
^l |ii3h TK^ bh-ipe<^itc ! 3UI1 6uloi3h

^n fS&mh l& ch<^]t mhn^ibh ; —
^l |ito3<^in 6he<^T, A 3h^u]t-YhU6

le'b 3hn<^oibh, le'6 3he<^n 3<^ch €Kn ]phe^(i,
5uii T<^nih<^il buic-T-e ]t^ulc m<^ibne

^l3&li3W6h3<^chl;a

ch|iuch(i3h<^6h <^n bomh^in 30 6-d3h p,

^l T<^nih<^il ydb be mhn^oi ^ip bich,
^nn inline 'r<^ 3- c&il;

SENTIMENTAL SONG. 207

Her budding breast,
But half confest.
Like living marble swells.

Should sicknesfii weigh your frame or sorrow cloud your
mirth,

Once look upon.

This lovely one.
This paradise on earth ;

Her winning air —

Her tender care
Will put e'en death to flight ;

For though her eyes

Beam witcheries.
Her angel soul's more bright.

Her lips more sweet than honey a pouting freshness
warms.

While all must own

That beauty's throne
Is centred in her charms ;

Though thousands prove

The force of love
Deep cherished in her sight,

A morning star

She shines afar
On all with equal light.

208 IRISH MINSTRELSY.

'<i\^ IMc^ 3e<^1A niine,

*21'T bolA6h dimhp^ 6j\ rime,

^li]t ph$i5in mo shp&fch.

lAo chjteAch ! 3<^n nie 'j ^^ X^uA^l^e,

le TK^ ch&le <^3 sUK^ij-ei^chc,
'^pS choim, -po choillce <^'t chu<^nc<^ibh

T 3^" ^P 6-cu<^i|iiT3 le ip&3h<^il
b'-phei^pii liom 'n& op n<^ |ii03<^chc<^,

50 m-bei6hmn-p iSichi fince,
7U\n u<^i3ne<^y Te<^l oj- ipol,

'Y n'i ch|i&3pnn 1 301 b|t&ch.

SENTIMENTAL SONG. 209

Since the birthday of creation this sacred earth ne'er
bore

A heavenly mind

So fairly shrined,
As her's whom I adore :

Just like the rose

The blush that glows
O'er all her kindling cheeks.

The dewy thyme

In all its prime
Seems breathing where she speaks.

Oh ! that my fair and I were in some lonely place.

Whose woods and groves

Might hide our loves,
And none our wanderings trace : —

That bliss untold.

Beyond the gold
Of nations, would I prize ;

For ever there

Her love to share,
And triumph in her eyes !

VOL. I.

210 IRISH MINSTRELSY.

eibi)li<li ?i ]tui<h.

Och ! le 3p^bh bhuic ni'l |t<^&h^fic <^'ni chionn,

^ eihhtm ^ |i6in !

bheich c|i^chr<^bh o|tc it <^oibhne<^|- liom,

^l Cibhtin ^ ii&in !

^0 Tnh$|tbh^il p$-3h|ilTiTi i^ cO,

X^Vl^X ^" c-T^oTshil-p di,

^0 5h{tednii ^*x two mhed6h<^iii ^x tu,

^l Cibhlin ^ pum !

|7lo bhiiuinne<^ll-]'<^ 30 beimhin if di, .

(VIo choUi]t 6'& bh-ipuil 'f^' 3-coill ly cti,

'7* <^ip Tno ch|i<^6he-T<^ riil li<^i3he<^T 3<^n cti,

^l Cibhlm ^ puin !

«

le cfiiitc&T <^3UT cUi bh«^chu3h^6h,

71 Cibhlm <^ ]t{iiii !
6(ibh|i^iT bii^3 rii'y liom -pein di,

71 CibhCin <^ piiin !

SENTIMENTAL SONG. 211

EILEEN A ROON.

BY JOHN D'ALTON.

Blind to all else but thee^

Eileen a Roon !
My eyes only ache to see

Eileen a Roon !
My ears banquet on thy praise,
Pride and pleasure of my days !
Source of all my happiness !

Eileen a Roon !
My dove of all the grove thou art.
Without thee sickness wastes my heart ;
Who can alone the cure impart ?

Eileen a Roon !

Break not for king or throne,

Eileen a Roon !

The vows that made thee mine alone ;

Eileen a Roon !
p2

212 IRISH MINSTRELSY.

It biie&3h6h^ 'n^ bh^nur cu.
It &ilne 'r\K Jihlce^inn cu,
fyio l)^len 3^Ti bh&m it rCi,

% CibhCin ^ puin !
^0 ii$T, w« lilf iw^ ch^^p IT tu,
fyio Tc6fi <^ bh-ipuil 'x6j\ c-T^oslw^l-p di,
flun TOO ch|toi&he 't wio chleibh it c(i,

'Jl €ibhlin ^ puin !

fl^^ch-F^TOn c<^]t T^iVe IMc

?l €ibh1jn <^ ituin !
T 3^ ic^iS^j fec5i3h ni iph^5T<^inTi cu,

71 €ibhlin ^ ftuiD !
le Tc^fich^^ibh 6o bh|t6u5T^iiiii ch(i,
&o bhldTf<^TOn bo bh€ul 30 6Uiich
*Jl*T T^TiTinn 30 Teiwh le*6 chtiTO,

71 Cibhltn A ptiin !
Ch<^bh<^iftTTOii <^6bh)iui&he<^chc 6uic choiT ^^mh^^n,
"P^^oi 3h€u3<^ibh 3Ut^ cjK^nn,
CeSl r\\ Tj-^n ^nn % <^ii ccionn,

71 €ibhKn <^ puin !

SENTIMENTAL SONG. 213

Venus of my ev'ry vow,
Brightest star on heaven's brow !
My Helen — without stain art thou,

Eileen a Roon !
My rose — my lily — both confest, —
My treasure — all I wish possest; —
The hearted secret of my breast,

Eileen a Roon !

With thee o'er seas I'd sport my way,

Eileen a Roon !
Never — never from thee stray,

Eileen a Roon !
I'd wander o'er thy honied lip,
With love-tales charm thee on the deep.
Then lull thee on my breast to sleep,

Eileen a Roon !
To vallies green I'd stray with thee
By murmuring rill and whispering tree —
The birds will our wild minstrels be,

Eileen a Roon !

214 IRISH MINSTRELSY.

^l Cibhlin ^ jiuin !

'21 eibhtin ^ itum !

6' |:h<^1t3Vinn ^'m 3h6u3<^ibh cu,
Coinseoch^inn 30 i-^unmh<^|i cu,

21 €ibhlin ^ jiuin !
'21 p&lnonn mh<^ire<^ch niho6h<^nibuil,
'ful <^ rn-beibhinn 6uic bun-oT-cwnn,
Och ! eu3<V6h bu6h chuii3e liom,

21 Cibhlin ^ jiQin !

SENTIMENTAL SONG. 215

With more than human passion warms,

Eileen a Roon !
I'd fold thee in these 'raptured arms^

Eileen a Roon !
Press thee — ^kiss thy bosom's snow, —
Round thee all my fondness throw ; —
Joys that only lovers know,

Eileen a Roon !
Heaven beams in all thine eye,
Spotless star of modesty !
Ere I deceive thee — may I die,

Eileen a Roon !

216 IRISH MINSTRLSY.

p2uyci<n y}o<t\%

Sn^'^bh le m'^^rK^m mo ph&iirin y^or\r\ !
71 cpoibhe 't ^ h-^i5ne <^5 5^i(te<^()h liom !
^l cioch<^ 3e^U TiK^|t bhUch tk^ n-iibh^^ll
'y <^ piob m^^it e<^U U ni&iic<^ !

Ti'x i\ii bo3 liOTn-T<^ ! bo3 lioTn-y<^ ! bo3 liom-y-<^ !

7Vx ojto bo3 lionn-T<^ ! 6. ch^ilin bhe^^T, bhonn !

IVy i\ii bho3li^(^niii, 6^ ni-bo3|:<<6h-y<^ born,

7i b-cuy ^r\ phluibe 30 f^yc^.

C<^p<^ mo ch|ioTbhe mo phi(iTnn ')pionn,

bh-fi^^'' ^ ^^ 3h|tu<^6h <^ijt lAf^^bh m<^|i bhl<^ch n<^ cc|t<^nn !

C<1 me-p T<^% <^nt mo ph&iirnn ponn,

llchc <^mli&m 3U|i olAy <^ Tt&ince.

*11'T i\(S bo3 liom-'r<^, &c.

SENTIMENTAL SONG. 217

PAISTHEEN FION.

BY JOHN D'ALTON.

Oh ! deep in my soul is ray Paistheeu Fioii,
A love-light for ever this bosom within,
Like the apple's young blossom her breast it is fair.
And her neck with the March swan's can more than
compare.

Then, Vourneen! fly with me — fly \yith me^-^

fly with me —
With thy nut-brown ringlets so artlessly curled ;
Here is the one that will live and will die with

thee,
Thy guard and thy guide through the wilds of
the world.

Oh ! my Paistheen Fion is my heart's repose.
The blush of her cheek's like the opening rose;
These lips that would stain one so earthlessly bright^
Can but drink her a blessing from morning to night.
Then, Vourneen ! fly, Jcc.

218 IRISH MINSTRELSY.

b^ TTi-b&bhiiin-p <^nn-y<^* m-lK^ile m-bK^bh |<i3p<^6h ^*x

<^o ibifi 6h<< bh<^|iiK^ile l^n be lei^nn ;

|7lo xhiuijtin ^ Tn'<^ici 'y mo V^mh ^{^oi n-<^ ce<^nn.

If yii3<^ch bo 6lT:<^iiin <^ yl^ince.

11'T o|to bo3 liom-T^, &c.

bhibh me Mol n-oibhche <^'m luibhe 30 bochc,
bhach xinze f6.oi <^n bllmn ibip bhK chofi ;
*ll chom<^mn mo ch|toi6he Ta3h ! 'y mi ^^3 pnu^^mei^bh o|ir,
T ^^' V^^h^mn-xi le 'Fe<^b 'n?L le 3Uo6h chu !
IVy i\ii bo3 liom-T<^, &c.

C|t&3y:e<^6 mo ch<^(t<^ib 'y mo ch^^ifibe 3<^o1l,
^I'f qt&3):ib mi ^ m<^nte<^nn be mhn^ibh 6.* c-y<^oT3hil ;
^ ch|i&3Tpe<^b le'm mh^]tch<^mn di, 3h|i<^bh mo ch]to1bhe !
50 pn|:e^|t <^ 3-c6mh|K^ -p^^oi chl&|i me.

2Vy 6p6 bo3 liom-T<^, &c.

SENTIMENTAL SONG. 219

With what rapture I'd quaff it, were I in the hall
Where feasting — and pledging — and music recall
Proud days of my country ! while she on my breast
Would recltne, my heart's twin one ! and hallow the feast.
Then, Voumeen ! fly, &c.

Remember the feverish hours I have pined.

And for thee have I braved them — the storms and the

wind —
The night-groves were dropping their dews on my frame,
Yet I sought thee — I wooed thee — ^I whispered thy name.
Then, Vourneen ! fly, &c.

The friends of my youth and the kin of my birth.
The fair ones I once thought — stray angels on earth ;
I'll forsake them for ever, but thee, thee alone
Will I cherish — till life and its memories are gone.
Tlien, Vourneen! fly, &c.

220 IRISH MINSTRELSY.

rue \)\)t^'5 <i]'V C\)0}<t]bt'iilX>\)7l'i^.

71 yhTU VMkix TK^ b-p^u|iUibhe,

i>'T^5 ^6 Tn'tnnnn b<^o|ich<^,

7Vx <^'b 6h&3h-p Til bheibh nn& bu<^n ;

^'T eulo3h<^bh liom v^ 3hle<^nnc<^ibh cu<^m,
beibh cunih<^i6h <^*t cmttTe <^*t> ^^^Z^ op^*
71'T bat)h Tn& ch^mh bubh le 3u<^l.

Cu3ch<^|t chu3<^iTiTi tk^ -ponc<^,

'll3ur lionc<^it bainn <^n 3Uine ir T^nPr
lAwfi^ bh.T<^3b<^b T^n ce<^b fince,

le Tnln-chnaT ^" bh|tollAich bbi^in,
71 phlui|i IT 3ile 't ^T """«

'4^& <^Ti pob<^ *T ^^ chUinih n<^ n.e<^n,
It bu^ibhe<^|tch<^ cuiitTe<^ch bhlbhim-Te

SENTIMENTAL SONG. 221

LITTLE CELIA CONNELLAN.

BY JOHN D'ALTON.

My Celia ! smiling gladness^

My first love ! — my pearly dear ! —
My days must set in sadness^

If long you leave me lonely here.
Oh, should you still 90 doom me.

Through sighing glens unblest to rove;
Despair shall soon consume me^

And leave my heart in ruins, love 1

In wine — in wine — ^to drown care —

In wine I'll plunge — a maddening tide,
If heaven refuse my one prayer,

To lie my snowy fair beside.
Far softer to your lover

You seem than down or silks so gay;
Oh ! words can ne'er discover

My loneliness when you're away.

222 IRISH MINSTRELSY.

b^ Tn-b&bhinn-Ti -p&n <^'t iTnn-chne<^]f

Ch<^oTnTnh«^|t, <^n b)i|tol1Aich bhfiei^sh,
'Jl n3le<^rinc^n <^oibhmn <^%K^ch

chuiam oibhche 30 ii-&jt5he6ch<^6h U^,
5<^n Tie<^ch <^ bheich b'&|i 3-coinih6e<^chc,

'llchc ce<^|tc<^ -piK^oich no'n coile<^ch |:ei^bh^,
'y 30 m-bK^bh 3iie<^nn 3<^ii ch^m <^Tn chftoi&he tnsb,

60 yWle be<^3 ni Choinbe<^lbh<<in.

SENTIMENTAL SONG. 223

How blithe the breezes gambol

Through yonder valley wild and free ;
Oh ! were my love to ramble

From dawn to sunset there with me 3
Where none should see our blisses,

But heath birds or the cooing dove 3
Nor mortal count my kisses.

With Celia Connellan — my little love !

224 IRISH MINSTRELSY.

^In 3h|!&n \'x ^" 3he<^lAch r\\ luibhe^

"y nil (i&ni <^3 <^n e<^U Tn^|t bhiobh 5 —
C& <^n chu<^ichin <^ m-lK^|t(t<^bh<^ibh n<^ 11-3803,

b*^ TKioji-fi^bh 3U|i ^loi3hip uK^inn^
^l |Tu<^ni1n n<^ nn-b<^ch<^n ni-b|!e&3h, ft^ibh,

6' |:&i3 Cipe Tp<^oT |:h<^6chui|ip ch(tu<^ibh.

Cfu rii6h' bo cKibhim c|ie]f ^n n-3ii&6h

*ll3uy Tnlnann 6<^"inpn 3<^ch l& bh<^Tnh,
|s/l'<^i3ne 3U|i chji&bh fi le ci<^ch ; —

^l Tnh<^i3h6e<^n, bo mhlll cu ^'m U(|i m^,

*ll3UT Tn'implbhe 6'in tJ^nnh chii3h<^c-T^ n-K^fi,

fj[^ la3he^l' i r\^ y<^i3hiob<^ibh-p ^'m U^ji,
y 30 bh-'p&3h<^ibh cu n<^ 3|ti(r<^ 6 6hi<^.

SENTIMENTAL SONG. 225

THE LASS OF FAIR FLOWING TRESSES.

B\ JOHN D'ALTON.

Each cold star glooms motionless o'er ye,

No heaven light plays in its eye ;
The sun and the moon lack their glory,

The springs of the deep are run dry.
The drooping swan feels all our sadness,

The cuckoo responds our despair ; —
She is gone who made every thing gladness,

The maid with the sunny bright hair.

The various emotions that sway me,

A lover alone can impart ;
The heavy forebodings that weigh me.

The anguish that tortures my heart.
Relieve me, my love ! I implore thee.

From pangs thou alone couldst excite ;
And oh ! may the heavens shed o'er thee

An Eden of smiles and delight.

VOL. I.

226 IKISH MINSTRELST.

Ir binnet 'ti& ^n bheibhliiin *r "^ ^^ ''iwc,

"X IT Tfiop-bhe^T 3<^<* ^^ ^^^ ^ ^^^^^^ >—

'Y 6$i3h liOTO 3uit biie&3hbh<^1 *ti& 'n 3hiu<in,
*y ^ mo chimhAibh S&up Tn<^|t bo chu3 m^ bhi 3P&bb,
T 30 Tn-Vve&pii liom n^ch b-TeicpnTi 1 inAmh.

SENTIMENTAL SONG. 227

Her voice with more melody flowing^

Than lute — blackbird — or violin too ;
She's brighter than morning grass glowing,

Empearled with sunbeams and dew.
Her beauties on earth not excelled are.

Nor the sun shines more glorious above; —
Alas ! that I ever beheld her,

Alas ! that I ever should love.

q2

228 IRISH MINSTRELSY.

ly mK^nn bom 'Fe<^T6<^ 3lu<^ixe<^chb

*2l3ay conrK^ijic ^n c-^ dt yhu^T ojic,

^ Chi3he<^|irK^ ^hiCisheo ;
71 Tphtp-'piini Tcoich 'ti<^ nspu^^s^^cti,

')Pu<^Hi bu<^bh ^3UT clii <^Tm s^ch 3leoi61i,
C^ me ce<^chc <^n u^ip-yo,

^<^oi 6W6e^n 60 rM53h :
Is/le-yi y&n bhup Ti-b<^ll bochc,

Ci( plle<^bh o|i|t^ibh <^nnT<^chc,
•^13 <^|i &|t3hibh |:^illi3he mh<^ll b^mh,

le bli<^3h<^in mh6|t f^^ che^ibh.

71 n-3e<^ll <^ni <^n c-6 c& l&ch^ip,
2I3UT <^$n-mlK^c 66 n<C n3|i&T^

'4^ochc oibhche no&Ucc cUdTbhce^^ft C03<^ibh
Chi3he^|iii<^ ^h<Ci3he$ ;

SENTIMENTAL SONG. 229

LORD MAYO.*

BY THOMAS FURLONG.

Here I rest ! my wanderings ending —

Here the generous wine we quaff)
Here ! where sunny smiles are blending,

With the song, and jest^ and laugh.
May the powers above presiding,

On our host each bliss bestow ;
Evermore his footstep guiding.

Far from guilt and free from woe.
Famed in many a field is he.
The high bom boast of chivalry^
Higher and happier may he be,

My own ! my lov'd Mayo.

The blind bard once more returning^
Seeks thy cheering smile to gain ;

Nights and days have found him mourning,
Doom'd to darkness, grief, and pain.

230 imSH MINSTRELSY.

^e<^Ti>^ n^ cui|i j^^X ^^^^>
'ii chp^obh n<^ ifoU if uKitU,
b^ji ^ bh-fuil be nnh6|t.chloi3

<t\^ bhabh mi ^r\ ipAb ub u^^ic-ye,
'il chiK^obh n^ bh-ipiii€un ni-bu^c<^ch,

50 6-cei6h qi& n<^ h-iiiie 'nu^^y

llip mo Tbe<^n-cboitp ch<^och ):<^^ yh^.

Ch^^p rnhn^ibh vu^^ip ^r\ chp^obh <^ 3-CI66I1,
'll Tn&nn, <^ b-pe^|!T<^inn t^^it^,

'Y <^nii 3<^ch <s<(ili6he<^chc Tn<^|t ly c6ip ;
5e<^l-3lipi<^Ti t <^i|i 3<^ch b^nnqK^chc,

^l 3-ce^mix^clic 'y A 3-C&II |t$ TnhJji,
TP& rWochch^m b'|:h^3h<^il b^mh 'r <^ti <^Tn-p,

U^ic vein <^3U|' $'b leomh^^n :
7 g Cub6ib $3 be bfijic,

'^P^ol chonK^nic bi j\^ n-bul bo,

'X 30 ni-bubh bu^n bo bheibh ye beobb.

SBNTDfENTAL SONG. 231

On this eve of eves most holy.

Let not anger on thee grow i
Gentle thoughts should touch thee solely.

Pity in thy soul should glow.
Branch of the old and stately tree,
With favouring eyes thy minstrel see.
And let him chaunt all loud and free,

The praises of Mayo.

Spurn him not, in thee confiding,

Chide him noU but hear him swear
By each saint in Rome residing,

By each blessed bell that's there — '
Hear him, vow that faithful ever

In thy step his steps shall go ;
Turning, failing, flinching never.

Until death has laid him low.
Until all his toils are done,
Until life's last sands are run,
The theme his heart must dwell upon,
Shall be his lov'd Mayo.

232 IRISH MINSTRELSY.

T ^ T^^^^^'i bhe^T n^ cciuifi-iioy3,
^X inuince ^j ^x -p^ile 310m

Uiwi |iei6hce<^ch yh&3h<^il o'ln leSn :
Ci^bh |:e<^yb<^, <^ chui3e<^|i,

Chui|t|:e<^bh m^iye ^iji chlAnnAibh €$136,

^IfiTi mo 6h<^il tnAji 17 coiji :
]ti3h n^ pAnn 6'bhuii ccuinh6<^ch,

50 fn-bu6h T<^03hlAch, ylAn An c(ii3e<^|t,
^/lAp ta r)at6h, <flelli6h. Com ^'r l)eei6h,

'2I3U7 p^uftlA An chail $i|i.

SENTIMENTAL SONG. 233

Loveliest ! gentlest Lady Mary,

Ffdrest form of earthly mould;
Bards might praise thee until weary,

And leave beauties yet untold.
Speak ! oh speak, thy lord shall hear thee.

Speak, and sooth the wanderer's woe;
Let young Theobald be near thee.

Future dread of every foe.
Plead for me ye blooming train.
Plead ye may not plead in vain,
And let me sing in glee again.

The praises of Mayo.

234 IRISH MINSTRELSY.

b\[0}^en<i]7l^ 60<h^.

If bSich le c6ub "pei^ji sup leS ipSin me 'Ti-u^i|t & lai^he&x

b^mh TnioTin,
T 3^ b-c&bhe^iiTi b<< ccjii^n pSy Ifiom, cji^ch |7nui<^inl3hiTn

Aip <^ chonfili|ii^6h liom ;

ylomn,
T 3^ b^TP**^^ ^^ 3hp^6h-T<^ in^p bhl&ch nA Ti-<^ipfiibhe Aip
An 6pdi3hTie<^ii fconn.

<F^i'l Ache cluAnAibhe 6he bhuAchAill bo'm mheAllAbh

3Ach U,
^ ShlAcTpAiih le beAn Aip bich 30 bh-'p^3li fe me,
5ibh 3up leAmh ^, mop bhpeAchTiui3h f6 30 -pSil mo mhemn^
CuilleAbh cubAiixe Aip, 17 -jpAoiiheAch 60 3huil|:eA6h fe An

qti^ch ph6n:Ap m$.

SENTIMENTAL SONG. 235

THE BROWN THORNJ

BY THOMAS FURLONG.

Tho' some deem me won if I wear a smile^
As their oaths of fond passion are pour'd forth the while;
When I think, but for once, of my own lov'd swain,
Thenthe tales they have told me are told in vain.

What hoards of rich sweetness his lips disclose?
How fair are the tints that his cheek still shews !
Oh ! wheft near him, all others must be seen in scorn.
For he is bright as the blossom on the gay brown thorn !

. Let the clowns who still seek me, their cares resign.
They can touch not, or move not, a heart like mine ;
O'er their woes I shall smile, tho* they droop forlorn,
When home by my true love as his bride Fm borne.

236 IRISH MINSTRELSY.

4^1 \)e6j\ bucUCibhe n^ h4ib6abhe 60 b-|:he<^|iji bhuic |:ein,

^'k ix^pmbhe bhe chAilin bhe<^3 ^ 3ATI ch&ll ;

QJichc ^in-Fhip ch^oin n<^ nse^^l-chioch 3<^n phoinc 5^n

rppeibh;
Zi^ cumh^ibh A's^m A nbi^ish mo Tnhui|tTfifi A'y lii ni^|i

liom €.

4|i1 dchcpeiSin be^3, bui3hb«^ch b'|:«^)t Ann fA' n-&ic,
l)h-'Fuil d chuiUn 'n^ bhu<^UCibhe '3UX & 'pi3hce 30 b<<it|t;
^71 c\iAnn c<^o|u:b<^n b'iiL Aljibe n^ch bibhe<^nn fe^^iibh <^nfi

A bh^jip,
'YS© bh-'F&yATin ym^|i <^3U7 yubh^ C)t<^obh ^ip An n3&3

lylylebt&ch.

'^^u^^ip &ii3hiin-Te ^^ip inAibin <^3ut ^n 6|i(ich6 'n^ Unbbe,
&e<^|tcAiiifi <^i|i An m-b^ile m-bibbe^nn 3ii^6}i mo chpolbhe;
4lio|i lAbh^iji me le'm mhui|tT(Tn ^6h d^im 6o'm chndoi'

bheAbh,
'Y A QheAb'X^eAfiC ! nAch bocbb ndch bh-f^ub^im 60

cbdmbdibh bo cbU^^bhe^^bb ?

SENTIMENTAL SONG. 237

'Tis not a vain girl deck'd in gems of pride,
That my dearest should choose as his destined bride ;
Tis one whose firm fondness with her years has grown.
Who can bless him, and caress him, and be all his own.

Tho* lowly in stature my lov'd youth may be.

Yet not lowly does he seem when he smiles on me 3

In the garden there are plants that grow straight and tall,

But the shrub richly laden will outweigh them all.

When I rise in the morning ere the dews are past.
To the home of my sweetest my first glance is cast;
To that dear one I have spoken but by looks alone !
For thus, and thus only, shall my love be known.

288 IRISH MINSTRELSY.

C^llTlOl \AU{A\)2i%

phon^mn chu 3<^n bhA 3<^ti puinc 'r 3^" miit^n yprii^bh,
Wr p^^ST^in" chu vf\^^bm b\i(ichz^ le b&nA6h ^n Ue ;
\Ao sh^Up 6ubhAch 3AT1 m& ^'j cu, A 6hi^Ti-3h|i?^bh mo

chl^ibh !
2i 3-C^iriol JVIiiTnh^n, 'r 3^" ^ lMb<^ibh ipCiinn ^nn, <^chc

cUji bo3 6e<^l.

^ ch<^oin-bh«^n ! An cuimhin le<^c-T<^ ylK^bh nd in-b<^n

yionn?
<t\o An cmmhneAbh leAc n^uAip 60 bhi6hinn-p 'r »n^

yiAbliAch 'T^'n n3leAnn ?
'<Hoir ^ chAich An Aolr w^ A'r 3"P l*'^^*^ ^^ cheAnn/
<»li cubhAibh bhwc m^ bhlbipc, A't c&'n bhliAbhAin-p sAnn.

SENTIMENTAL SONG. 239

CASHEL OF MUNSTER, OR THE
"CLAR BOG DEAL."

BY THOMAS FURLONG.

I would.wed thee my dear girl without herds or land,
Let me claim as a portion but thy own white hand ;
On each soft dewy mom shall I bless thy charms,
And clasp thee all fondly in my anxious arms.

It grieves me, my fairest, still here to stay.
To the south, to the south love ! let tis haste away ;
There plainly, but fondly, shall thy couch be spread.
And this breast be as a pillow to support thy head.

Bethink thee my sweet maid of old Slieve-'na-mon,
And the vales where I sported in the days long gone ;
Tho' my locks now look grey, and my blood runs chill.
The fond heart that then lov'd thee can love thee still.

240 IRISH MINSTRELSY.

4^^ T^oll-p 3U|i b'ipoll A'y ndch u^fAl me,
QVy n^ 7<^oil-p sup *x^ 'TI-6I3 60 |:u^i|te<^bh me ;
yin pof leAm 7e<^l ndcj^ Asuf cu<^|u:ui5h me,
^l3UT she^bh^ip T3|iiobhch<^ ^nn mo chddibh be6^x 3*fl*
b*u<^TAl m6.

^il i\i bui6he ^nn mo phoc^l&he nis. ^1113106 3e<^l,

^K mo bSlAchc le |-e^6b cp^chn$n^ ^ip ^6,

^1 ii3-bhe<^n 60 choi3Tpe<^bh m6 ^polUmh 3^11 bh6ibh,

I^Ach b-t63|H^mn ^ip mo fhe^lc^^ 30 conc^^-cKipe-e^shAin.

^ chAilin, 17 m<^ich-<^ichnimh 30 bh-ipuil bu^i6h|ie<^6h ope,
^3UT, A ch^ilm, 17 m^ich Aichnim 30 bh-|:u^ip cu 3uch ;
CAiCin m6 ipu<^ip lomp^bh TpAof shpi^bh -pip,
TVj poj mo IMch-cpoimV n^ p^ibh <^3 mn&ibh An z-x^^
3h^il uile.

SENTIMENTAL SONG. 241

Oh ! turn not upon me that cold glance of scorn.
Nor deem me as a mean one, or one basely bom ;
Nay, take me to thy arms love ! and thou fihalt see,
That the gentlest of the gentle I can prove to thee.

Not from wealth closely hoarded can I claim delight,
Not with herds or fair flocks can I tempt thy sight ;
Nay ! these gifts of frail fortune midst the. crowd may &11,
But the soul fraught with fondness is beyond them all.

On thy young brow my sweet one, a cold gloom appears,
And thy glance of mild brightness seems dim*d with tears ;
The world, dear, may slight thee, . but when friends are

gone.
This lieart ever constant shall thro' life love on.

VOL. I.

242 ISilSBi MINSTRELSY.

|7i^ii[ie c»)UiTT'C.

U )Vlh&i|te Chuirle ! ^ bhUch n^ pnne,

3h&3 <^ii wnioh n-u^p ^'n <H&im
l)^ul If binne iii( 'n church <^i|i bile,

6*1*5 t(i ine-p ^' Ti-w^iisnSbh b^ir ;
<lfi Vhji b<^inh coinse^l, cl&|i n& Ti«ne^"''»

Ui^6h 60 mheiTse, ^ |i4 bh«^3 mni^ ;
Ycaib-bhedn inh^ire^ch, mh^ubinsh ^ji m^iits,

Och ! 5^11 b'T<^lUin5 liom 50 U !

piiiibhM me Wpb^ch, ^'r 5^ Cionnq^ile,

50 5iioich«^6-<Ciche, \'y dip ^n ^ l^h
30 c^chd|iUch d3ur 30 6un-p&cqiuicc,

Y^mhuil fVlh^i|ie ni iphdcAibh m^:
C$ir8i6he ^\\k^ <^ip e^^chjidibh b&nd,

fVI<^|icrbluA3h S^lIM qioib t^^'n inndoi ;
^& b'iTnchi3h tii, M^^^^n^, 30 bh-pllibh tG tWLti,

7 30 nb^nvAbh 60 TS^ile pluT 3<^" SP^^^-

SENTIMENTAL SlONG. 243

MOLLY A STORE.*

BY THOMAS FURLONG.

Oh ! Mary dear ! bright peerless flower^

Pride of the plains of Nair,
Behold me droop through each dull hour,

In soul-consuming care.
In friends — in wine — where joy was found —

No joy I now can see;
But still while pleasure reigns around,

I sigh — and think of thee.

The cuckoo's notes I love to hear,

When summer warms the skies ;
When fresh the banks and brakes appear,

And flowers around us rise :
That blithe bird sings her song so clear,

And she sings where the sun-beams shine —
Her voice is sweet — but Mary dear,

Not half so sweet as thine.
a2

244 IRISH MIM5TRELST.

*y\ fA^ifie 30 beimhin, Kn piAniib<^ bpe^sh leinbh.
It |4inihibhe 't 'T ^^« ^'^ bh-'piil le f&5h^il ;

71 3|tu^6h ir bcipse 'r\^ jiiy b'^ bh]ie^5h<^chr :
6ochc(ii|ti&he nA qtuinne, ^Y <^ 5-c|tuiiiniiJ3h^bh uile^

"Iff li^i5he^|^&h <^n <^(t|t^in3» ^c& bul quoin c^|ifn^^
'ilchc p6i3in mhe^lA 6'6 bhalln c^iT, rUCfch.

SENTIMENTAL SONG. 245

From town to town Fve idly stray'd,

Tve wander'd many a mile ;
I've met with many a blooming maid,

And own'd her charms the while :
I've gaz'd on some that then seem'd fair,

But when thy looks I see,
I find there's none that can compare,

My Mary, dear, with thee !

J

246 UUSH MIN8TREI4T.

C2ncn<»i cirmi^ii.

QI5UT IT mhichib licin qi^chc^bh <^ni Chici6h iiA

'Yi <^n piAnnb^ bpeJ^sh leinbh t& r^oTche^^mbml |iu^i|tc,

7Vx A r^^mhuil HI iph<^c<^T ^ m-lK^ilnbh n& bru^ich :
*X ^ nio ch]te<^ch Tnh<^i&iie, nR'|i ip?l3bhA6h rn^,

%|t bh|iu<^ch loch<^ €i)t|iill le |:&iiiiie ^n l^i !
(/I<^)t fhuil 50 bb-ipi^slK^inn <^Tnh<^|tc ^^\i Chicibh fk^
3-C)t^6bh,
lA6ifi bo chu<^1Ai6h mi ce^jT^r bh]te^3libh^chc<( A
TS&wh'.

'Y 6 ino l;&un3hui|ic! m^yi choii<^i|tc m^ 6&bh<^ch v!^ pe^^nn,

^^ 60 chul biie<SL3h, qtiofK^UAch, -fAmnw^ch, -ponn ;
6& 6-c$i3e^6h <^n ci3he<^|in^ e^Tboi3-p Ulwh Sf mo cbionn.

SENTIMENTAL SONG. 247

CATHARINE TYRRELL.

BY THOMAS FURLONG.

Sweet girls 'tis mine to frame each tender ditty.

Or touch the heart with many la thrilling mr ;
And now my theme shall be my blooming Kitty,

The first, the fairest, seen amidst the fair.
Young bud of beauty, A\ bright and peerless.

Long have I lov'd thee — ^and must yet love on 5
Thy smile is cheering, when life looks cheerless ;

Thy glance gives hope, when all hope seems gone.

Oh ! might I wander down by bright Loch Erro),
There should I linger at the dawn of day;

To gaze in rapture on my own dear girl.
As thro' the green fields she bends her way —

248 IRISH MINSTRELSY.

It 5ile 1 'n&'n e<^U, *x 'T iei^e i '"^ '^ 3^pi^n>
It binnel 'n^ 3-cu<^Ui6h m^ be ch^^^^ibh <^|n^mh.

It qiu<^i3h n<^ch bh-fuil me-p ^5Ut Cici6h &he<(t> ch^^oin,

Y^ chul <^n colin chuilmn 30 n-ol):<^m<^o5t bftt^oin,
M^fi thill Ic b\6. bilMt 3^ 6-t:o5|:<^inn ^ cpoibhe,

7Vx 30 6-n6bh|i^iTm ^ bh<^ile $ tk^ ?n&ch<^i|t bom 1 : —
l&3h Tn€ 60 liap <^ muich <^i)t <^n c-tl><^bh ;

bu6h bhmne'i 'Ti<^io?n^6 &c ch^lc<^ibh fi3he
p^i|tc Tnh$ii 6e*Tn c1i|ui^blic<^n, 3U|t le<^c chdUl me mc
chi<^ll

It Tno|i ^ n-<^3h^ibh b'^n<^in<^ 6, ^ Ch^^intin.C'jii^U.

SENTIMENTAL SONG. 249

Oh ! sweetest! dearest ! had I never met thee.
Calm nights and days I might still have known ;

But who that sees thee, can e'er forget thee ?
Thine image fades but with life alone.

Oh ! that we were in holy bonds united,

How sweet, how sacred, would that moment be ;
The sails should flutter as with hearts delighted,

I and my lov'd one would cross the sea :
Or by some holly bush, in greenness blooming,

Our languid limbs we at noon might lay ;
In love's dear dalliance the time consuming.

Scarce heeding seasons as they wore away.

250 IRISH MINSTRELSY.

2i<h c»)Uii-v^i^'h'h-

boich|iibh,
?l3 lorniT^ibhe Tk^ h-(i|i-choille ^*x ^" ipiichb Aijt <^ b|io5^
'fi mo the^pc t 'fi nio |iiin t, A*t nil cnucli ^ici le h-iise,
^S^T P^ P b^iip ^ilne Aip mhn&bh b|ie^hch^ tk^

TobhU.

^ Tn.bg^l-&cb-TW^-3&|t ^ c& <^n rc&ib-bha^n bhite^sh

mhobh^^mhuil,
I)h-"Fuil ^ 3|iu^bh Tn<^|t nA cAoft-chon <^3ut j^emh Ann ^

cVobh 3e^t)
bubh bhinne 3iich <^ b&l-pn *nK 'n ch^re^ch 't n& *n

XvnlSiAch,
']fTi& <^n lonn-6ubh Aiji nA ci^llnbh le pillTc An qi&cTinon<^.

Cni3hibh Ab rhiti6he^ A bhuAch^ill, A^ux 3l«(iT b^^mh mo

3he^It|t^ii,
^0 30 le<^nf<^ibh me <^ti Tcu<^i6h-bhe<^n (16 t^u^t <^i]i ih^

cnSc^in,
Ca fi bK fioflAiAbhAbh liom 6 bKi6h ^ 'nA IMnb&n,
'y 30 m-bubh bhmne liom tk^oi n-ui<^i}te t 'n^ 'n chu<(ch 'r

n^ op3<^iii.

SENTIMENTAL SONG. 251

THE COOLIN/

BY THOMAS FURLONG.

Had you seen my sweet Coolin at the day's early dawn^
When she moves thro* the wild wood, or the wide dewy

lawn ;
There is joy — there is bliss in her soul-cheering smile.
She's the fairest of the flowers of our green bosom'd

isle.

In Belanagar^ dwells the bright blooming maid.
Retired like the primrose that blows in the shades
Still dear to the eye that fair primrose may be,
But dearer and sweeter is my Coolin to me.

Then boy, rouse you up ! go and bring me my steed.
Till I cross the green vales and the mountains with speed ;
Let me hasten far forward, my lov'd one to find,
And hear that she's constant, and feel that she's kind.

252 IRISH MINSTRELSY.

|VI& chu3 wo cli|t^6he 3|t&&h bhuic 't 3U|i di &ilfie 3<^ch

pUiT,
'X 3<^Ti wo whuina|t f&|i-Th&T6<^ IMc, <^ 3h]i&bh bhil fi^

3-cow<^nn9
P&i|tc mh$it &e'w ch|tu<^6hc^n <^'x w6^3 C|iu<^6h-3hul3o

6^^11136^11,
y^9\ 'm le<^ii^n b)t&^3h u^t^I &o lu^&hKbh bom A'm

IMnbh. ^

*2l xc6i)t 6hil wo ch|ioi6hef bi6h ttlMy ^3U|' b^iii3e<^n

b^wh,
^i^ qi&3 ptin bo chl&ibh ^ 1136^11 ^^ip € bheich bMlbh,
bheuit|:<^inii buic-p ^r\ bioblA <^ bh-ipuil i^^oi ^3111' ch^i|fiT.
30 6-n(kbhitd6h 6i<^ btle^^T ^|t f&ich bh&nn le o^iche^mh.

2ln cinwhin le<^c-T^ <^n oibhche bhi&h zu-j^ A3irr we-p,
y^ bhun An ch)tAiiiii chAo|ich<^wn ^*x ^n ^bhche A3 cup

chinrneAbh
^t pAibh -poTcAch o'n n3Aotch A3uinTi n^ bibeAn 6*11

bh-ipeApcbAifin,
?lchc wo ch^uA chup fiiimi A3ur bo 3UT1A chup chApAmn,

SENTIMENTAL SONG. 253

Oh ! dearest, thy love from thy childhood was mine.
Oh! sweetest, this heart from life's opening was thine;
And tho' coldness hy kindred or friends may be shewn.
Still ! still, my sweet Coolin, that heart is thine own.

Thou light of all beauty be true still to me.
Forsake not thy swain, love, tho' poor he may be ;
For rich in affection, in constancy tried.
We may look down on wealth in its pomp and its pride.

Remember the night, love ! when safe in the shade.
We marked the wild havoc the wild wind has made;
Think! think how' I sheltered thee — ^watched thee with

care.
Oh ! think of the words, love, that fell from us there.

254 IRISH MINSTRELSY.

JlOlTl'h i>Ubt).

Ti {l^ipn, n<^ bTo6h b|ton ope |:i^'|t ei|i5hi&h bhuic 1
CK n^ b|i&ich|ie ceAchc ch^p y^^fle, <^t w^b <^3 qii^U Aip
Tnui|t,

^I'T ^^ tf^p^il ipion 7V^iTi"«^ch <^i|i TOO pSipn &ubh.

If Tp^^b^ ^n jieiTO bo I&15 me l& 6 n-b$ 30 b-cr;h ^ n-biu^
C&pinA yt^ibhce 30 n-be^ch^T l^chi, ip<^oi theolc^' <^ip

TOUIft,

*Hn Ciiine <^'t ch^^ich toc l^mt, cibh mi\i ^n fpuich,
'X bhlbh ceol teub <^i|i 3<^ch c<^^bh bhiom ^*x ^^ |t$ipn
6ubh.

(/IhApbh tu toS bh|iibe$i3, <^'t n^'p bubh |:eiipp-be bhinc,
T 3^ .bh-|ruil to'^^ik^to ^ iTi3h <^ 11-30^11 ope, 'xrd^ n-b€ n^

n-biu
6'|:&3 tfi IA3 <^nbh):<^nn mS, ^ n-3n&bh 'y <^ 3-cpuch,
^& Y^U opTO <^'t to^ ^ii3e<^n ope, ^ floipn bubh.

SENTIMENTAL SONG. 255

ROISIN DUBHJ

BY THOMAS FURLONG.

Oh ! my sweet little rose, cease to pine for the past.
For the friends that come eastward shall see thee at last;
They bring blessings — ^they bring favors which the past

never knew.
To pour forth in gladness on my Roisin Dubh.

Long, long with my dearest, thro' strange scenes I've

gone.
O'er mountains and broad valleys I have still toil'd on ;
O'er the Erne I have sail'd as the- rough gales blew.
While the harp pourM its music for my Roisin Dubh.

Tho' wearied oh ! my fair one ! do not slight my song.
For my heart dearly loves thee, and hath lovM thee long ;
In sadness and in sorrow I shall still be true.
And cling with wild fondness round my Roisin Dubh.

256 IRISH MINSTRELSY.

yhidbh^^ilpiin ip&n <^ti &|uic1ic iMc <^3ut fRf<^ic)i 3oi|u:^
M<^p T^uil 3^ bh-|:{(3h<;inn |t<in udic, no |^i|ic be'm dioil,
Chp^^oibhin chuTnh|i<^, 3he<^lUir 6ofnh-r<^ 30 |i^ibli 3|i&Ui

'y 3U|i b"i viop-Tcoich ti<^ |7lii?nh<^n 1 mo fl^ifin £)ubh.

*Jl flSifin mhin, inh^&hAnihAil^ tw^ m-b^n-eKToch cciuimn.
It rii b'-F&s inile <^iip<^iTi3 ^ ^-ce^fzA&fi mo ch|toTbhe :
e^loi3h liom, ^ ch^&h-The<^iic, <^3ui- 'F&3 <^n ajt,
?l*T WL bh-T6u&]p<^mn nAch 'n-b^nip^^mn-p b^mittoshAm
&Woc, ^ |l$ifiTi 6ubh.

b&, m-bi^&h Teinie<^ch <;3<^m bochite<^bh):<^mn A n-<^3h<libh

TK^ 3-cnoc,
7i*x bh^n-jr^mn pifc^l <^nii U^jt ^n Aich|!|tmn bo'm

floipn 6ubh,
bh^upip^^mn pS^ 6o'n 3-c<^itTn n-$3 bo bh^upiH^bh A h-6i3e

bh<^mh,
QVx ^h^nif6.mn cle<^r ^i|i chiil ^n lei^fA le'm ]l$ifin &ubh.

C& ^n d]tne n<^ cuike qt^iK^, <^3uy }teub]p^ibhe^]t cnoie,
?1'T zK*n ^h<^ip3e 'iiA conn^^ibh beA)t3<^, ^^x boi|tqpe^|i -pml,
beibh 3<^ch 3le<^iin fl^ibhe ^i|t ipuib Ofte^^n ^Jy m^ince ^iji

ch|toich,
l& &^n Tul <^ n-6<^3|:<^ibh mo |loipn 6ubh.

SENTIMENTAL SONG. 257

There's no flower that e'er bloom'd can my rose excel,
' There's no tongue that e'er moved half my love can tell;
Had I strength, had I skill the wide world to subdue.
Oh ! the queen of that wide world should be Roisin
Dubh.

Had I power, oh ! my lov'd one, but to plead thy right,
I should speak out in boldness for my heart's delight ;
I would tell to all around me bow my fondness grew.
And bid them bless the beauty of my Roisin Dubh.

The mountains, high and misty, thro' the moors must go.
The rivers shall run backward, and the lakes overflow ;
And the wild waves of old ocean wear a crimson hue.
Ere the world sees the ruin of my Roisin Dubh.

VOL^ I.

258 IRISH inNSTKEIST.

U11C'JIC^<»1 bU\)\)

^lUile<;c^iTi6hmbhO!
bh«^|tTp<^inn-p ^^^ bhe^ch ^rgaj Tii^6h nK^|i bhK^h bhuic,

"21 Uile^c^m 6hmbh !
b&^|tf^6 <^eii T!^ Ions r\6. ye^l 't ^^ m-biCb buic,
"^p^^oi bh<^ti)t<^bh<^ibh n^ 6-com ^'t V^^ ^3 "plle^Wi ^'n

6.qiiiLi3h,
'X ni lei3|:inn-p <^&i bhji^n cdibhchebo'b bh^il,

T 5UJ1 ca in'Uilei^c&rt bhuh ^ I

^l UilMc&m fehuibh !
|VI<^)t n^ch 3-coin3e$chA&h 60 3hl$|ich<^ be^bh 3<^n bhiAbh
me

^l UilMc^m fehuibh !
|7lile c^b r^^iift liom bheich choibhche 3^11 v^m
'<Jia bheich <^3 piibh<^l <^n bplichb^^ 'r ^<^ bh-Tr&r^^ch leAc,
"l^ioii chu3 mo chfioibhe bhuic 3|t&bh ti& 3e<^n,

T rdtdm' Uile<^ci^Ti 6ubh !

SENTIMENTAL SONG. 259

UILEACAN DUBH O!

BY THOMAS FURLONG.

If to Leitrim's green fields thou wilt wander with me

Sweet Uiieacan Dubh O !
Thy cup shall be sweetened with the honey of the bee,

My (Jileacan Dubh O !
There the trees rich and shady shall wave o'er thy head,
There the barks shall glide by with their sails gaily spread.
There each day as it flies some new blessing shall shed

On my Uiieacan Dubh O !

Oh ! what says my dearest ! and can she deny me.

Sweet Uiieacan Dubh O !

My woixls may not win her — but why will she fly me.

Sweet Uiieacan Dubh O !

Oh ! think not sweet maiden through life to be free.

While in each that beholds thee a slave thou canst see ;

Oh turn not — oh look not thus coldly on me

My Uiieacan Dubh O !
s2

260 IRISH MINSTRELSY.

Chon^ipc mi A3 ce<^chc chusAm 1 qiS l^p <^ti c-fteibhe,
|7l&]i jt^lnoii chfiib <^n 3-ce$bh ;

bhtbh me A3 cAinc A*t A3 coTnh|i&6h lei,

50 n-beAehAniAi|t 3opili|tcnAm-bo:

Y*huibheATnAi]t-ne ffoy Ann Uhb An iphKilj

50 fe-cu3 m6 6hi TC|iiobhchA -pAoi mo U^imh,

^Ach b-yuil coi|t b'^ n-b$AnA6h fi nAch n-toqpAmn A t&m
7i UileAc^m &huibh !

\Ao chpeAch A't mo chp^bh 3An mi ip&iT3che fioy lei,

UileAcAin &ubh !
^li|i leAbA chAol, ^itb ni Ai]t ch^finn cuibhe,
^lUileAc&nfehmbhO!
5An bume Aip bich Ann ei)tmn bheich l&imh Imn 'fA

'n-oibhche,
^hc A3 TTi3|iAbh A3ur A3 S&i]ieAb>i pe^p mAp bubh

mhiAnn linn,
^l 6hiA ! nAcb cjiuAbh An c&r ^, wunA bh-T:&3hAibh mi
mo mhiAnn

'ii^Jl An UileAc&n fcubh !

SENTIMENTAL SONG. 261

I saw the fair damsel round the hill slowly bending^

My UileacanDubhO!

Like a joy-giving star thro' the grey mist ascending^

Sweet Uileacan Dubh O !

I spoke to her gently — I spoke of my pain,

I vow'd — ^I protested again and again ;

But my vows of affection were pour'd out in vain

My Uileacan Dubh O !

Oh were I beside thee in rapture reclining.

My Uileacan Dubh O !
On some soft rushy couch with the moon o'er us shining.

Sweet Uileacan Dubh 1
How blest might I be in die arms of my dear^
Where do shape or no sound to disturb us came near ;
But she waits not — she deigns not my story to hear.

Sweet Uileacan Dubh O !

262 IRISH MINSTRELSY.

ce2i<»i<ii 6ubi) i)ue2iir.

01 chann 6huibh bhilir, bhilir, blnliT !

Cuip bo iRmh Tnhin-5he<^l chopm A n&U !
71 bh&lui mhe^^U^y bh-Tpuil bolA6h ik^ rfrne <^i|t,

ly buine 3K11 chpoTbhe iK^ch b-aubhp^bh buir 5|t&bh. —
C& c^^iltne^^bh^^ ^ijt <^ti Tn-b<^ile-p <^iji buiUei^&h *f Kifi
bu^ibh]teA&h,

^3 cKpik^ins ^ fi-3|iuAi5e *x b& l^e^nn le s^^h^
*Zli[i mo fhon-T^, <!^fi TC^-p^ijie Tf f^pfi <^nii y^n nidiche^

Qlchc bo ch|i:&3Y:inii dn m^b riii <^|t pun 6hA mo ch|ioibhe.

?1'T cuijt bo chednn biLe^^r^ t^le^^T* WLe^^T '

Cuip bo che^^nn i^le<(|- zh^\im ^n^Vi 1
^l bh&lm fnh«^l<^, K bh-^puil boU^bh nK dine <^i|i,

ly buine 3<^n chttoibhe n<^ch b-aubh|i^bh buic st^^bh !

SBNTIICENTAL SONG. 263

CEAN DUBH DEELISH.

BY THOMAS FURLONG.

Oh ! sweetest and dearest of maidens behold me.

All lowly before thee thy victim must fall ;
Oh 1 let thy white arms in fondness enfold me.

Oh ! let thy lov'd lips my lost spirit recall*
There are maidens around that too partially view me.

Aye, girls whose gay glances enchant and enthrall ;
But idly they watch me, and vainly they woo me.

For thee Cean Dubh Deelish I'll fly from them all.

Then dearest and sweetest come let me caress thee.
Come lay thy lov'd cheek on the breast of thy slave ;

Where is he who could see and not seek to possess thee,
Oh ! such must be heartless and cold as ihe grave.

264 IRISH MINSTRELSY.

e}hlf)U<t] "H |IU1<»1.

yhitibh^ilYnnfi ^n ^ s-cSiwhnuiblie le^c,
"21 eibhEin ^ )uiin !

YTiifibh^ilYnmi '}^t\ A 3-ciinhiiuibhe IcKc,
li CibhUfi ^ n&iii !

yTfiubbXl]p<^iiiii yhn A s-cSmhniiibhe l«te,

|^<^|i fhuil 50 m-b^bhinn' ^ s-cleKmhiK^r le^c,
"Zl eibhUn ^ [turn !

6' $l|:<^inn ^in b6 l«^t-T<^,

^ eibhUn ^ |i(iin I
')• b'clv^^iTin bh^ bh6 le<^r-r^,

"a eibhtin ^ [t(ini !
yhilibh^ilYnnn ^n T<^03hM m^ji IcKc,

•y rfi ix^Kii|:<^iiiii 50 bdSysh le<^c,

^l CibhKn <^ jiliifi [

SENTIMENTAL SONG. 265

EILEEN A ROON,

BY THOMAS FURLONG.

Fll love thee evermore,

Eileen a Roon 1
I'll bless thee o'er and o'er,

Eileen a Roon !
Oh! for thy sake ril tread.
Where the plains of Mayo spread ;
By hope still fondly led,

Eileen a Roon !

Oh ! how may I gain thee ?

Eileen a Roon !
Shall feasting entertain thee ?

Eileen a Roon !
I would range the world wide,
With love alone to guide.
To win thee for my bride,

Eileen a Roon !

266 laiSH MINSTBELSr.

*Jln 6-noqpAi6h cfi no'n bh-ip^n^p^^ibh tu,

^l eibhUn ^ pum !
6-aoqpAi6h zii no'n b-^F^nix^ibh tu,

Chuib 6e'n c-TAoi3h«^l ^x^ jton \
CioqpAibh mi, 'y m yh^nip^^iih ni€,
Cioqp^ibh mi, 'x ^^ lph<^nipAi6h me,
'X aocrf^^bhmi, 'x ^^ fh^tif^^bh me,

'X e<^l$5h^ibh mi le'm rcSp-

C6u6 mtle y^Uze pSmh^c,

71 Cibhlin ^ ]ium !
Ceu6 mile f ^ilce p6mh^c,

71 Cibhlin A film !
C6u6 mile -police pomh^r,
^^Aol 3-cSu6 mile -police pimh^c,
Och ! Tpi^ilce A3UT ipichche jtSmh^^c,

71 Cibhlin K piim !

SENTIMENTAL SONG. 267

Then wilt thou come away ?

Eileen a Roon !
Oh ! wilt thou come or stay ?

Eileen a Roon !
Oh yes ! oh yes ! with thee
I will wander far and free.
And thy only love sliall be,

Eileen a Roon!

A hundred thousand i¥^lcomes,

Eileep a Roon !

A himdred thousand welcomes,
Eileen a ^opn !

Oh ! welcome ever/nore.

With welcomes yet in store,

Till love and life are o'er;^

Eileen h Roon !

268 IRISH MINSTRELSY.

e6i)M04i^ ^"h cr)^oic.

It €<^bc|tom, c^fK^i&b Thitibb^ilpnii : —
PiifibbKil|Mfin Iq6x <^n |^hiinib^iii Kin T^^>

• 6& b-cpw^ti K311T iMch TM^ h-ei|ie<^n,
T 3^ fiwv*"'! o|ic, TOO cbpoibhe 'suy mo choytp,
*U rbTo6<^ nA w-b^n 3^11 K€n lochc.

^l chKilTn $13, yh&mh, Kn b-rui3«^Tin cu y^n,

5u|t buine Tn€ Kc^ Ki]t bu<^ibh|teKbh,
'Y 30 bb-piil wc cb^i|tbe 30 Vsiji, ^ bh-'Fei|i3 liom ireiii,

Chionn di bhach ^*b UiKbh^bh liowi : —
^ip Th^^ibbbbjie^^T Kn c-T<^e3h<^il, ^ leinbh 6hil mo chl^bh,

^i ch|ia6pnn-p |xj€uIcK |:u<^[tK ojic ;
T 3^P ^^^^ lonw^b n<^ wi-bj!^3, 60 chui|t pnn <^|tKen^

^l bh-'F<;6 ^ n-K cheile i n-u<^i3ne<^t»

SENTIMENTAL SONG. 269

EMON A KNOCK,

BY THOMAS FURLONG

Oh ! maiden more than &Ar,
Whose ringlets rich and rare^

Are o'er thy white shoulders flowing ;
Whose eye of winning hue,

Large, languishing, and blue,
With love's own wild light is glowing :

How happy should I be.

If blest my girl with thee,
But fairest, thou art too cruel ;

rU range the nations o'er,

I'll wander evermore.
Or win thee, my dearest jewel.

Dear blooming gentle maid,
Thy smile comes not to aid

The weak one who droops in anguish ;
Tho' friends and kinsmen jeer.

And taunt me when they hear,
That thus for thy love I languish.

270 IRISH HINSTRELST.

'Zl Ch^^lin $15, Theinih, ^n 6-cui5e<^nn ta -p^n,

3u|i bume Tn$ d( <^i|i r%he bfchchuiT,
l^unAl) loiK^on <^'t <^n c-6 u6, bhibh Aichmb A5AC T^n,

^3UT 6'|;&i3 f^^ shn^ibh b)toiii cu :-»-
C^ bo |-huil TTK^tt ^n im^it, bo 5h]tuAbh Tn<^fi <^n c<^o|t,

ly bpei^sh 1 bo bh&b-fi, ^ 6i3-bh«^n,
y 3U|i b'$ 3&i|ie 3e<^l bo bheil, chii3 bAf bo ik^ cSub^ibh,

[VIo shp^bh *3ui- rno mhiU TcSp cu 1

^l 5h]t^bh '5UT ^ chuib, ni( b^n ^p&n yub,

^hc CP&3-T1 bo bh^ile buchch^i]^^
11'T c^^ph *t ^n n-^ic-p 'nA bh-'puil ik^ 5&|tt:h<^ ^5><^ii Ion,

^3WT ^bhl^ ^"^^^ <^^P choiit 'n<^ 3-cuplAbh<^lbh ; —
C^ An c-6<^ii Ann ly bnine, An 'p^up Ann ly 3lAiTe,

C& An chuAicHin Aip bh^pp An luip shlAin ;
'Y 30 lA An bhpi^ch m chiocfAibh An b&y Aip Ap nsAipe,

^lip lAp nA coille A3 Tu3pAbh !

flAchAmAoib Anoiy, 3An mhAlll Aip bich,

^Adl Up nA coille cpAobhAfcTie;
ly -puAp A3U1- ij- Tpliuch, An uAm p ch<^ 'sAinn,

^l3uy 3luAi|*eATnA^b le n-A ch&le j —

SENTIMENTAL SONG. 271

Vain are the taunts tbey tbrotr.

For all that earth can shew,
I would not — nay dare not doubt thee —

Whatever of joy I've known,

Hath sprung from thee alone,
There's love, life, and bliss about thee.

Oh ! damsel ever dear,

Speak, speak, and let me hear.
If vainly this hope I cherish ;

Say, must I drop like him,

Whose star set dark and dim,
Who left thee in gloom to perish ?

The stars may brightly shine.

But still those eyes of thine.
Seem brighter when bent upon me ;

And then, that careless smile.

Fraught with each witching wile.
Oh I sweetest, that smile has undone me.

Come, lov'd one, tiu'n to me.

Come, leave thy home, and see
The scenes that spread here before thee ;

Here streamlets brightly play.

Here the green fields look gay.
And fresh flowers shall hang clustering o'er thee.

272 IRISH MINSTRELSY.

'41 uAiji 60 chu^lAi6h p-p, |»i<^ini n^ coille

^3 bu<^U6h Aip TU16 K cheile,
'Y* € nic bhu<^ibh)te^h, <^ji p-pn, ^n chu<^ch ^ bheich ^i|i

T 3^" ^" ^^' ^ b^eich cedchc b'i^ Tp^ich^m !

'U chinb ^5U|- ^ 5h]t&bh ! <^n ^5 cuft |*u^r 610m <^ cRift^

fTK^ch nie-p 60 yhXich cheile,
^^eh |:e<^|i ttk^ji <^ ci^iTn, &o'b iphe<^]t]t<^ iMc 60 iph^lu^il

ZhifSf^bh ^n TP^fc, ^3UT |iSTrih<^ii|X^6h dn b&n,
'Y beibhe^bh 30 cuin<^T^ch l& An chiuchbA ?

*2l Ain-phiji chitiiTiy cl^ich, nA bh-'F<^6-'Fholc m-bin&he,
nfi-bpej^sh,
jyio bheKntk^chc-r^ 30 U'n gus' leAc !

SENTIMENTAL SONG. 273

Here sweet, and loud, and long,

The cuckoo sings her song;
Here danger can ne'er invade us ;

Here thro' the leafy grove,

From morn to eve we'll rove.
Till darkness descends to shade us.

Then dearest, come away.

Come ! thro' these woods we'll stray,
Tho' dull seems the path we've taken ;

The whistling winds blow shnll,

And the small birds sit still,
Nor venture one note to waken.

Oh ! deign, dear maid, to stay.

Why turn thy looks away ?
Oh ! are we thus doom'd to sever ? —

If there's a youth more dear.

Then be our parting here.
Adieu ! my sweet girl for ever:

VOL. 1.

274 IRISH MINSTRELSY.

'7*1 ^n buinne<<ii ly Oijiel, 6*'<^ bh-'peiciTii ifciji mhn^ibh^ —
'X \ mo The^^pc t, 't 1 mo jiCiii 1, 't i <^nnT^chc mo fhul i,
*y t mo Th<^mh|W^ ^xm x^^ bh-pudchc i, ibip no6hliii3 A*t

^l Chithpib mhilir, chluAn<^ich^ t^ l&n be'b cfiuib qtu^ibh-

bh«^|it:,
Wt 30 bh-ipuil mo ch|t^bhe ^i|i buAibh)te<^bh, le h-iom^|t.-

(TIA't be'n m-bul6he<Qnn cu shWc qtu<^i5h bhomh^ c^bh^^ip

TC^ulA 30 lu<^ch 6h<^mh,
Ci<^ <^cK IT |io3h<^ le^c m& -phui^TS^^^* "^ !"^ l&3e<Vnn

chum b^iT ?

SENTIMENTAL SONG. 275

IN THIS CALM SHELTERED VILLA.

BY THOMAS FURLONG.

In this calm sheltered villa my fair one remains,
Tlie flower of all flow'rets, the pride of the plains;
She's my heart's hoarded treasure, my soul's sole delight,
In winter she's my summer, and my sunshine at night.

Oh ! love, cruel love, thou hast led me astray.
My heart sinks within me, and my strength wastes away;
Speak, speak, dearest maiden, to my passion reply.
Or breathe all I dread, and then leave me to die.

Oh ! thou my soul's darling! most lovely, most dear,

There's nought can bring pleasure if thou art not near ;

Our trust through the future in kind heaven shall be,

I'll long not for wealth love ! if bless'd but with thee.

t2

276 IRISH MINSTRELSY.

4^^ CU13-P 30 bh-"Fuil &ipe<^chc ^nn T^i6hb|ie^T 3^11 siu^bh,
2Vx ^n c-6 chtiiYi be'n 3-c|i$ pun, it u^^ibh 3he<^bh^^Aa»&

'y <^i|i b$lAchc m ch|i&3fmn c(i, 't ^i^i c6iqf6<^ ^3 bo

^ inh&itTiiTi d'T ^ ^^TinT^chc, 3<^n rnh^itiT 3^11 chldmp^m
6'?L b-cu3 ^^ chjiofthe 3e<^Ti 6uic, cA|i ^ bh-Tpe<^c<^f fee

Tnhn^ibh, —
^ IP^bi]! lioni 3<^ii ]t<^iin ^ bheich, lerf ^n c-€ bh-'piil mo

3h]ie<^Tin ^^ip,
^'r in&ioinpoi3hi|t-p ci^m b^mh bdbh Tn'^n^ni ^*bl&imli.

Ij- bu^h^^ill 3<^ii cheill td, ^'x ^'^ ^hlSjvch^ihh nfl

C<^bh<^i|i ^ipe bhuic -pem, ^^ n^ I&3 ojic An h^Xf

4fi'l m<^^n mh^p, nl'l rpftabh '3^6, pitiomh-ch^ipbe 11&

3<^olc<^ ;
'ymo chlioch^n ni rh^^ahirei^T leAc, le m'Aen-coil 30 bp^dt.

SENTIMENTAL SONG. 277

Then smile my beloved — ^let this coldness depart,
Oh ! come till I press thee in bliss to this heart ;
Nay ! nay — then I'm doomed for thy loss to repine,
I die, dearest maiden, and the blame shall be thine.

Nay, call me not senseless — nay, deem me not vain.
Nor think that of pangs all unfelt I complain ;
Tho' lowly my kindred, and scanty my store.
Oh ! why wilt thou tell me to love thee no more.

278 IRISH MINSTRELSY.

bene ^'^ ci)i?i|i'2ii)i)'2n <fi.

*Xmo l&[iTnhe<^T^ *nn-eniimi cAji ^^oibhne chAich^
Chu3 me, it v^uchc^^ji <^ti cjiiond <^ti bf^H,

%t\ fh^zh'bhjtumne bh^ul-cAnd, rnhin ch^^if, bhl^ich,
pi<^6|i-3bAybd, Th6u3hAm-3hlic, yhiche^^ch, rh^^mh,
5h^u3-'ph<^6<^, bheub-chdilce, chtoch-ch|iuinTi Tn-b&Ti,
bo l^it-chui|t mi ^ n3€ibhe<^nn 'j ^ 3-cuibh|ic<^ch 5|u(ibb.

'y^ c|K^ebh-"Fholc<^ fce<^3h-fch<^ichce fiq- 30 |<(il,
^l 6h6 Tieimhe, ly b<^e3hdl 3uti ^h mbh 3<^ti ^ijifc,
4l<^ch leu|i 6<^Tnh i^iji ^uncho|t n^^ch ^bhche <^n U^.

If c^ub biTine b*^oi\ ^ bbeich cl^^^bhce, cU^ich,
7I3 &Tce<^chc le T^T-3huch ^ 3|i1oT.3hoib tb^iwih,
lon& dn Tnh^ib ly t^b\\i le r^^oichibh 6'i:&3h<^il,
6e rb^oft-phoiic^ibh €iiie<^Ti <^'t CIi^^inh-'t|iocU(iT.

SENTIMENTAL SONG. 279

ELEANOR O'KIRWAN.

BY EDWARD LAWSON, ESQ.

All around the green isle of my birth.
Too long I've delighted to rove ;
And was I not happiest on earth.
To fix on dear Ellen my love ?

Kind, generous, gentle, and coy.
Her white bosom's unconscious of guile ;
Her mouth, a rich casket of joy.
Enchanted my heart with a smile.

But her eyes' irresistible rays.
Like diamonds, so dazzle my sight;
(Oh God !) that I scarce, in amaze.
Can distinguish the day from the night.

280 IRISH MINSTRELSY.

50 n-3eilli:«^fch bh&iuT ni |/ine|ibh&,

"X bii ii.&|i3hTbhe<^i)h 6&p6iie le <^och<^mh \\^b,

6o'n |3&Tnh yin bh&le n-i ChiA|tAbh&iii.

SENTIMENTAL SONG- 281

Yet thus overwhelmed and confounded,
Tis a thousand times sweeter to hear
Her voice, than loud anthems resounded,
And organs that ring to the sphere.

282 IRISH MINSTRELSY.

lpT2i6r)2ne)i)€ h\)e'ii\i'ii.

•H't i^V bh'i<^bhc<^ i Tpi^'n ce<^ch-p, le Uiibhe ^m\ ^m n6in :
*X^ TVih^iShbe^Ti hhjt^'^hf bhdit|t^Tnh^il^ n^'ji chiii|t tp&t

Cum sl^she^l rn^jt rhnei^chc^ 'fl C^iqtin in3hTn c-feftn.

C&nA ceubch<( b'& m^c^Cibhe^ bul ^nn eu3C|turh b'& fe^^

|lq%5 fieibh, sU^n, chUu^in me^UAbh, b^ul z^n^ m^p P^f-"
Ce<^ttbii]ic<^il ^ m-bibh \)\ie&x ^^^> bhi&h lolpAbh 3ACI1 |

5^ch c&bh bhjiei^sh ttk^p |hTie<^chc<^ A'r ^^b A3 cAirbioU,

I
C& Ap bh'ion3n<^&h bo'n ii^iin^ ^^3 &|i 3Ai|ie<^6h pubh

bhSnuT,

^<^|t bo bhibh Conchubh<^]t ^ &hei|i6|te, bul A b-piAncAibh

6'&3|U^6h;—

SENTIMENTAL SONG. 283

THE HUNTER OF BEARHAVEN.

BY EDWARD LAWSON.

'Twas young Bearhaven's hunter pursuing his game^
At noon to this roof— not to banquet — he came ;
On fair Catherine^ whose though ts never wandered on man^
Pure and spendid as snow, thus his extacy ran.

What hundreds of swains woo this innocent dove,
And languish desponding disputing her love !
Oh ! her clear azure eye it bewitches each heart.
Her lips, like twin rose buds, deliciously part.

Down her ivory limbs flow her bright flaxen locks,
Like light wreaths of snow over Parian rocks;
Admired by the learned and adored by the gaj.
The virorship of Venus to her's would give way.

284 IKISH MINSTRELSY.

'yt ino {toshd&h ch^^p mn&ibh ei|te^n i d meinn ^'f ^ ccj^U

&^ub-chon]t<^bh <^i|i TnhnJiLibh 6i cine<^b]i 'i, 't i |n<^lnih^i€h

dn oiTiich 1,
5^ch Te6ifc fche^^i" fc'i^ bponTi^bh \ ^ TcAip«^6h Aiji luchc

ce$il,
*Yi Tn(ii|ine chl^nn^^ |Vlui|te^&h t, Y'l po-shp&bh n^bh-^nlel,
]t^ulc-e$lAiT yhl&ibhe-5uiliiiTi 1, 'y 'i G^iqnn m^lrn

c-ye6iii.

'Y 1 TC&ch&n 3<^ch b|tom5il, chu5 bh&iuT 6i ufiit^Cim^
C& be<^llttA&h o'n n-sile 'innn *y <^ c(il nush TnA|i ^n c-Jp ;
e<^lA 3h1%he<^l loch<^ 5''^nTie i, 't<^ cd^bh Tn^|i <^n lili,
Chu^^ibh 6o mhoit-chlu i &hAi|te bo Cheibh fchum-n^^-loTis.

SENTIMENTAL SONG. 285

Most brilliant of gems — fairest daughter of Eve,
To the sons of sweet song still delighting to give;
The beloved of Clanmurray, the bard's darling care,
Slieu GuUin's bright pole-star is Catherine the fair.

The mirror of maidens in homage who bow,

Her locks to the sunbeams new lustre bestow ;

A white lilly perfuming the amorous gales,

Like the swan of Loughglin fair and stately she sails.

286 IKISH MINSTRELSY.

chfteuchb^^ibh choils 3h<^chdib1i Chiupib^
60 sli^uji-soin 30 be<^chc, mo chpoibhe <^Tri3h Aiji ]pd6,

^'y 60 l&ii-chui|i m6, Aiji e<^Tb<^i6h fubhdch<(ir :
^ {t^lnoTm 't <^ The^^jic, $ ch^u|tnoi3h 60 bh|te<^ch.

It 3l&6he 'n& fne^^chc^^ dip bubh-chncic,
7l'm Itoncd, mho chitedch ! m doibhmn mo bhdil^

QVx ci^iTn cldolbhce bo'6 3hedTi d liorm-bubh !

fc'^bdn IT 3ile, 'liK phofebuT dip mijie,

'X i\K bl&ich, $ ! nd 'p&chlednn ctimh]td ;
60 iti3hiii-|ioT3 up, IT sl^'T^ '"^ fcpuchfc,

7l'x 'n^ p^upld IT 3ldine lonnpd ;
60 chldon-"Fhoilc -pnne, 'n-d 3-cldon»bhedpcd' d3 filledbh,

^'T ^3 Cieupn63hd6h 30 mulldch 3Uin ope 5
bo 3hpudibh mdp dn 111, bo bheul mdp dn mhil^

*y 60 chdSbh mdp dn €dld dip chium-c-TPUich.

SENTIMENTAL SONG. 287

WOUNDED BY CUPID'S BURNING DART.

BY EDWARD LAWSON.

Wounded by Cupid's burning dart,
Increasing sighs and groans betray
The anguish of my bleeding heart.
Which wastes with sure though slow decay.

Enchantress ! since my dazzled sight
Beheld those limbs like mountain snow,
Ting'd by Aurora's roseate light,
I droop, forlorn, and drowned in woe.

As gilding beauty's vernal bower
Emerging fresh from ocean's breast,
Thro' curling woodbines odorous flower,
Shines out the sun and all is blest.

288 IRISH MINSTRELSY.

C^i6 60 5h6u3Aibh 30 h-uile, le ch^le <^3 lom^bh,

bh^UT fe^ 6-a3e<^bh, 6Jx r\^ fe^-inhn^ ale,

T)elen, |VliTieiibh& <^'t Ifino ;—
5^n phl^t)hiie<^chc 'r <^3<^'>-r^^ ^ cheu6-rhe&itc 'r <^
choTwAiTin,

Ch^bhdi|iTit)ir uile An c-ubh<^ll 6uic,
If c|iAochc<^ t& me-ri <^*k &li(i3h<^6h 3<^ti mhipe^^ch

le 51^ choiTK^mi 6uic-p, A chtiil-^KiOTiTi !

SENTIMENTAL SONG. 289

So through your long wreathed locks appear
Your vermeil cheeky your honied lip;
Youi^ full mild eyes like dew drops clear^
That from the young green herbage trip.

Your limbs in fair proportion yie,
As rivalled by themselves alone ;
Alas ! exhausted I must die^
Unless you bid me cease to moan.

VOL. I.

290 IRISH MINSTRELSY.

fi)€i|ifcnc 6r)€2i3r).3i)<huir€'aci).

bo ch<^]tdr c^P ^^ ^^ 6^i|t6ite blie^5h-5hfii£|i»Ccli,

1}* c<^Tn<^itTAch cUC€ii, 't Tf C|U^obh^ch^ qi^ch-uttKch,

^ b^chAU-rhoilc ch^9m1i-5hUn^3h^Ach, f^^bchii|tr^ch.

•21 m6m^ 3A11 mheib, A't € 3<^n bhle^^chcGslu^&h 6'fhiom

If cAilce 't it c<^ol <^ cAebh *x 'T cne^T-chlrnhp^^,

'Y Til inhe<^T<^im 3U|t f^bift-c^mhe^l jiiAmhUQihAbh Iciy.

SENTIMENTAL SONG. 291

BLOOMING DEIRDRE.^

BY EDWARD LAW80N.

Sweet Deirdre 'bove all else I prize ;
Such pearly teeth ! such azure eyes !
O'er which dispersed by zephyr's play,
Dark-shining, twining^ tendrils stray.
In full luxurient wreaths descending,
Those small soft-heaving orbs defending ;
Whose vestal snow no touch profane,
Of man, has ever dared to stain.

Like orient Venus^ when she presses

The brine from her ambrosial tresses,

That down her sleek side glittering flows,

Like dew-stars on the milk-white rose;
tj2

292 IRISH MINSTRELSY.

^An<^ib n^ h'hxs le tseimh ^ r^c-chuil ch<^iT,

*X ^ n-be<^ph<^ibh z^p bh^nuT bji^jir^^ibh ^Oi bheKn ub
Tin.

60 5hAbh<^T-Td Vei w^^p TS^^b bo'w chei^ftc-cbumhb^ch,
^ibh re<^p5 Tnoshn^rUi mAp n^omh A nsl^T'^^^^b cnoic,
It TnAi{t5 6o'n n-^u5 nAch nsVeuT^nn b^|ic cbt^^m-fK
&o chAidife<^bh mo ft^^e 50 \iinbh 5^n Tnh^ftc|tii5h^M)
Tn-b{toib.

60 che<^l5, 60 cb|i^hC'3hoiii mS 30 l^3-cbuT|tTe^ch^
6'<<ch|tiii3h wo 5bii^bh hk^ji ^^-iph«^|i ATi-q<i3^ch,
Y^^^PT^ i<i Uu3h<^im no c^ 6 3hl^Ti-(i3hb^p,
lonKon 6uinn € nt 3h&llfibh ^n bhe^n 66 b^mh.

6e 3he<^T^ibh n^ 3^36 it 3le-3blAn, se^n^whuil cpuch
fJio che<^n3<^l <^ n3eibhionn b^^ 30 6e^c<^nihUch,'
bubh cne^^T^x^ W^ cefmibh cg^chc <^3 cnw^T^Sb^feh <^n l^c
feo 6e<^p3<^bh l& le ei3ce<^pc ^chunih<^lc<^.

SENTIMENTAL SONG. 293

The gleamy tenants of the tide^

With wondering gaze forget to glide ;

Suspended in the liquid sky.

The plumy warblers cease to fly ;

Choiring her praise to heaven above,

Where she'd depose the witching queen of love

Her tutelary power I hail ;

Though like a cavem'd hermit, ' pale,

Hopeless, I pine ; accusing death,

Whose barbarous shafts still spare my breath.

A martyr to protracted anguish.

Like joyless, sapless age I languish ;

Nor read a line, nor tune an air.

To all indifferent — ^whelm'd in deep despair.

The facinating white arm'd maid.
By some enchantment has betray'd
My hopeless bosom^ which remains
Wrapt in inextricable chains.
In charity she ought to heal,
The tortures that from her I feel.

294 IRISH MINSTEELST.

Ce^n5<^l.

bhlAoibh ch^^m^
'H be<^|U^ "^X^i i^m^iTK^ ^e6\^, A 3eu|u^Kioch^ 3<^nii%
'H h^x^ c<^ite, U^s^, le<^bh<^ilie, A Ti-^el-pKiob (U^mh^it ;

SENTIMENTAL SONG. 295

combination/
My blue-eyed, pearl-teethed, blooming &ir.
With heaving breasts and curling hair;
Whose dusky-flowing wreaths effuse,
Down her white limbs the pearly dews ;
I claim for mine, and here defy.
The whole wide world my title to deny.

296 IRISH MINSTRELSY.

M ?i 1 |i e |1 U 1 <»i.

"21 f/h&i|te |iuin, if cu bl^h n^ n-ubhAll,

^^ me6Xl6Jbh ^ulmhTie^ch rhu^ ^ sbii&bh,
6o chuipf e<^bh ye 6, 3-C&II buic, le b|ti<^di|U^ibh beil,

Chui3 cheub bji^s <^Tm bhi( u<^i|t be l& : —
b*|:e<^Ii|i liow -p&n cu, bheirh choibhche ^ 3-c&n,

fVl^ji bhibhe<^T ti<^ c$ubch<^ b^n ij f^W,
^^ bheich p$|Td <^3 |t&c cu, bo rhiubhAl An yAosh^l,

*2l3 be^CiK^bh b|t$<^3 'r <^3 me^^lUbh mn^.

bo Th^^oH me Tcoijiin, m<^|i bo bhibh cu 03, be^^i",

50 n-b^n^r^bh beon<^bh Aip eulosh^^bh liom,
*y n^^ch bh-|:uil qii(chn$TiA n& oibhche b^mhn^ich,

^l^ch cuT^ An c-|-e6ib, bhiobh Aip An m-beAlAch p6mhAm:
YhmbhAilipinn boichpe A3UT coUke cnSbh leAc,

Choibhche A't 30 be6i3h, rii bhiAbh op|tAinn byi^n,
b'K m-beibhinn bo'm phSyAbh leAc, A while ixSipinn,

'X mo l&nih 30 Tn6bhnfihAi|t A'b bhiiollAch bh&n.

SENTIMENTAL SONG. 297

MARY A ROON.*

BY EDWARD LAWSON.

My sweet apple blossom^ dear Mary, beware,

Lest the Munster man's flattery* your heart should ensnare ;

His tongue is so oily, so roguish his eyes,

In one hour they would tell you whole hundreds of lies.

Much rather Fd see you for ever a maid,
A pale rose of the wilderness, languish and fade $
Than espous'd to a rover, whose profligate arts.
Seduce simple virgins and break their poor hearts.

How fondly I fancied that blooming in youth.
You'd be led by my voice, and inspired by my truth ;
Each fair sunny morn when all nature lopk'd gay.
You shone the clear gem that illumined my way.

298 IBISH MINSTRELSY.

Qln CliiTnhneKch le^ <^ii oibhche ub^ mm |:h&le l>|irjhb^

Ir buic-fe^ ^ ^Aoile^nn^ diiQ me se^^n le SiositAir,
^<^]t <^ bhibh cCi <^oibhmn^ be<^r^ ^lumn^ 03 ;

It cCi 30 cmnce, 60 mh^ftbh m'lnnnn,

Ql3iir le&sb n^ Mu^nb^^n lii bbe^nr^bh m6 rl^n

'T 3^ bh-ipuil mo cb]tdibbe ya^ nd mhUe piof^

'41 u^ni TiAcb bb-^3h<^im c&^b pnce le'm rnhfiipniii
bh^n.

21 )i€ilnoTiii mbin c^ir, n<^ ^[^"S Tn^ cbdibhcbe,

^^ hAchc cobIA (^bhcbe bo chKiU me leAc,
.C& Tpuil mo ch|toibbe TTi3b, 'n^ b(i^b<<m ch|t1oTK^,

le 3e<^ii bo'b 3bTK^oi, ^*x bo'b ch^il, <^ fhe^^itc ;
f/*ucb 6'n &jh ! A'f wio mHile b|iofi 3hui|ic !

5<^n ^n oibhcbe ii$mb<^m *t me bbeicb pSjc^ le^c!
?lchc 'noiT i'x ^ b<^mb, 30 byti^b iK^ch 3e<^bh<^i|t liom,

^0 mbile jtoijiin, mo bbe^^miAcbc le<^c !

i

SENTIMENTAL SONG. 299

With you the wild nut-groves delighted I'd range,
Immersed in soft raptures and fearless of change ;
Oh ! treasure of treasures, were you my reward.
With the soft hand of love your fair bosom I'd guard.

Last feast of Saint Bridget, ah ! can you forget.
When on MuUamore's ' summit transported we met;
But now you have plunged me in sorrowftd gloom,
And hopeless of healing I sink to the tomb.

Sore, sore is my heart, it is rent to the core.
Beside Mumeen Bawn^ 1 must never lean more ;
Thou star of mild lustre, my prayer do not slight.
By day all my thoughts, all my visions by night. ^

Admiring, adoring, imploring thy ray.
My heart's blood grows congeded, and I wither away ;
But alas, you disdain me i-^—then break, oh my heart !
My treasure of treasures for ever to part.

300 IRISH MINSTRELSY.

<iloit'i '^I'h ci)Uii oMli^nci).

01 4|6|iA ^n chuil impAich,
* 'Y 6 wo bhjion-Td nAch bhip^ubAim,
lAmh bo chuji f6.o?b ehe^nn-x^,

^0 ^ ni-b|tollAch bo leine ;
It c(i b'|:<Ci3 mo che<^nn-T^

5<^n (mx^ ^^\i bich c&lle^
'H't 30 n-6<^lSch<^inn c^p colnn le<^c,

71 pfiiTi-The^^pc b^ bh-|:iubf^inn.

71 bh^ill winnne mo chpoibhe |ti3h,

^& b6^n-p liom b[i^3,
'H't 3U11 3he<^ll cu mo ph^r^bb^

.5<^n ip^i|tlm3 ')• <^ c-T<^03h<^l,
yhiubh^^ilyinn-i-e ^^ip ^n n-bpftchb lc<^c,

7l*T Til bh|itii3bpnn le<^c <^n f^up,
*2l'r ^ ^5p<^ <^n chtiil 6mp^ich,

It be<^T ^ ph$3]p ^mn bo bb^ul.

SENTIMENTAL SONG. 30 1

HONOR OF THE AMBER LOCKS.

BY EDWARD LAWSON.

Sweet Honor of the amber locks,

^Tis to my sorrow, beauty's bloj^som ;
My hand can't prop your lovely head.

Nor touch your gently swelling bosom.
'Tis none but you my darling maid.

Of reason that has quite bereft me 5
With you I'd traverse oceans wide,

For you forget all else that's left me.

Most precious treasure of ray heart.
With broken vows do not deride me ;

How oft you promised to be mine.
Though worldly wealth was still denied me.

With you I'd trip the dewy lawn,
Nor bruise the green luxuriant grasses ;

And still more tenderly I'd kiss.
Those pouting lips, my best of lasses.

302 IRISH MINSTRELSY.

CAobh chMl 6e*ti ^^^^3^

C^ XdS\i 3e<^l TOO ch[io16he,
71 Ctil CTush TO^^fi ^n c-oTO<^|i

le'p chilli to6 too 5hnAoi6h j
5ui6hiTO-ii |ti5h ^n boTOhn^ich,

5o 6-nonncoi3he An shXoTch,
2l'r 30 bh-feieibh me too bh^U^chc

II5 5<^bhAil b$ich|te bh<^ile-Rch-buibhe.

SENTIlfENTAL SONG. 303

Beyond that verdant flowery field,

The darling of my heart reposes ;
Whose amber locks profusely curled.

Have dimmed my cheeks that bloomed like roses.
O King of mercy change the scene.

And let me, for her sake, recover;
And see my lowing herds again.

Wind round their native hills of clover.

304 IRISH MINSTRELSY.

^iiTT'i'HS 'i^h C>i3-T^^li-

50 fU^blK^T 30 if^on xe6X6Jb ^'m lutblie,
y^^ 5h^u5<^ibh C|i^nn choiT Amh^n ^*m Aon^|t,

lA^\i ^ m-bfobh ^^[i K5UT ni6i[it <^* c-y^^dishil ;
blnbh ceile<^bh^|t eun 6j\n ; <^ n5C<^i|-e^bh^ibh ns^uftA^

Wbh 3le<^o<(ibhe<^chr ^j-c ^i\j\ le -peiqin qtibh,
^onbh^|t be^^ch Asuf mil 'n^ |i^ob<^ibb

le |:i^5h<^il ^5 s^ch ^^an ne^ch 6*& nje^^bh^^bh ^n c-yUsh.

]liTm we TcAb c<^fn<^ll <^3 &|Te<^chc

le ceile<^bh<^[i hn bhtbh A m-b&|t|i n<^ c|«^aibh*,
7I3 p^ii-chup n6c<tf6he ^ 3-c$ip <^ clieile,

"^I'f 6he^|tc mi Tbgi|t-bhe<^n mKin, 6he<^T le'm chA^bh,
21 3itu<^bh ^3 U^r^bh ^\\i bh<^ch nA 3-c<^6|t-chon,

21 poj-c TiK^p |i^lc 3hU^n j-e^^c^ btnbh,
21 TCu<^b-|:holc 6m|t<^ch Ti3hce 30 bpSi3 Vei,

'X le c(iTnh<^ibh nA be$i3h jub ni mh^^ittre^^b mi.

SENTIMENTAL SONG. 305

THE YOUNG MAN'S DREAM-

BY EDWARD LAWSON.

In a dream of delusion, methought I was laid,

By a brook overarched with a fluttering shade ;

A delicious recess, where silver-tongued rills.

And fietr cataracts deep roar echoed round from the hills :

Gleaming fish in clear waters were wontonly playing.

And hoarse murmuring bees o'er wild flowerets were

straying ;
While sweet honey distilled from old oaks to regale.
The young and the fair in that odorous vale.

A beautiful bird on a blossomy spray.

Was warbling a varied and rapturous lay ; *

As I listened entranced in delightful surprise,

A lovely enchantress astonished my eyes ;

VOL. I. X

306 IRim MINSTRELSY.

IVx Ubh^i|t 30 f&mih be cWmhii^bh ch<^Mn ;
« ^ cho3h<^ n^ bh-T^^p too tV<^6 n^ 66uTi-p

« T 3^P TO^3hJ>e^n ^^ c^r^bli ^*6 Uon,
*' ^K bibb-p cioTic^ch le c^to le cUon-bhe^pc

" c<^oiTO ^'m <(on^|t ^^ip too chliu bhu^^TO 6ioto,
« Oiji 3he<^bh^TOn.p h^x ^^^^ "^^P^ ^^ T3^^ P"

" 41$'to 3heilc 60 bh&bhTOTi-p <^ip t:e^6h too rbAoishiU*

71 cho3h<^ r\A TOb<^, ti& CU13-P T^n,

60 rbUb 30 n-66^ii|:^nii ^ip ^cii.c-i1%**^
le c<^TO, le cle^r* ^ ^ bo^pc^bh cUon^.

Oip c& TO^^c bk <^3iiii)n $r cionn A3 c-T<^ol3hiV.;
CuipiTO-p TO*iTOpi6he chuTO fl^h tiA spdine

^*T chuTO 3<^ch 4l<^0TOh ale 3h<^bh<^nii le CjiioTc,
Cu-t<^ A3UT TOC-p bheich A3 ^ chhU,

71 TOhAi3h6ion TOhAopbhA, Aip ye^bh Ap rAoishil.

^l phUiip TiA TO-bAn— A 6heAllpA6h n^ rc&TOhe,
^\ x!hKxv^\bh ir^up 5UT cp^ chAUmh A wot,

<lli bhiAbh ce^T Ann n& neApc nA 3p&ne,

U3UT TO bhiAbh peulcA Ann A b-corAch ofthch',—

SENTIMENTAL SONG. 307

Her cheeks like the quicken's rich clusters were glowing^
Her amber silk locks to her white ancles flowing]
Like a keen freezing star gleamed each sparkling blue

eye,
Alas ! in one month, for her loss, I must die.

When first she descried me, she startled, alarmed.
And with coy supplication my sympathy charmed :
'^ Oh &youred of men ! do not ruin a maid.
By fete to your power unprotected betrayed ;
For with sorrow and shame broken hearted Fd die,
Or for life thro' wild desarts a lunatic fly." —

^^ Oh, peerless perfection ! how canst thou believe.
That I could such innocence hurt or deceive ?
I implore the Great Fountain of glory and love,
And all the blessed saints in their synod above ;
That connubial affections our souls may combine,
And the pearl of her sex be immutably mine.

The green grass shall not grow, nor the sun shed his

light,

Nor the fair moon and stars gem the forehead of night;

x2

308 IRISH MINSTRELSY.

'X ni bheibh &X5 ^nn ^iji Tnui|i n$ ^^iji rfp,
beibh ^3Ti^ibh 5<^c)i T|tuch<( ^ 3-coinne n^ xthhhze

C(t^ch bheibTie<^b-T^ clAon buic^ \ 5h|i&bh mo chjunbhe !

Z^jihy 5^ch se^UAbh b'^ b-cu3<^T yhn bi,

pho5 m^ ^ b^tm 30 blthch ^{(ir,
le^S m^ l&mh <(i(i <^ b|i&3h<(ib bh(iee^3h^ shl^e^^l,

^'T P"5^T ^^ 3b^3<^ibh ^iji jiun too ch]ioibhe ; —
'4l-u<^iji b'fiTOhluish p 3<(bh^il Iioto wk^ji ch^le,

bhibh TOO ch|tdibhe to^^i ivm ^3 bul le 3<^oirh ;
Citt l^ji too Th(i3|t^bh bo TOh(iTcdil to6,

*Ytoo chfiTOh^ibh liiji bh' ^h\ |ic^b ^chc ^ixlin3t.

SENTIMENTAL SONG. 309

The streams shall flow upward^ the fish quit the sea,
Ere I shall prove faithless, dear angel to thee/'
Her ripe lip and soft bosom then gently I prest.
And clasped her half-blushing consent to my breast ;
My heart fluttered light as a bird on the spray, —
But I woke, and alas, the vain dream fled away.

310 IRISH MINSTRELSY.

71 ^\)\l1lb\) 213UT 21 ]1U1<JJ 61)11.

^ 5h|i&bh <^3ur <( )tuin bhil, \n nnn ri$ ^n b(ibh<^ch le^r^

fyie-p bheich <^5 T<iil V«^c <^'Tn i^on^^p ?
ly cji^ibhce me ^ chiiil|:)iionn^ <^'fn chobU^ ^suf K*m
bhCiiTe^chc,

^213 TiK^chcnAbh ^iji bo shnilT bbpe^shf 5hl^he<U ; —
ly TO$ii ^n c-ioTi3nAbh liom-T<^, cu bheich biin-$r-cioini
b<(inh,

'Tf rn€ l&n be |:honn ^ bheich p&bh le<^c,
d|t3hibh^ <^ 3hit&n-3hil, c<^bh^i]i toIut ^n U^€ le<^c

5I3UT xc<^ip-p 30 l&i|t TOP n^ullc^.

^' uch $'n $ch ! |4 too chpotbhe c& TO^pbh,

It Cfiu<^3h TO<^fi ]tii3<^bh ]tiATOh TOe !
fyi'incmn ^^h|iAch <^5 3e<;lAbh le^c-T<^,

^21 jiuTO <^3UT 6i chuib n^ cpen; mi !

SENTIMENTAL SPNG. 311

MARY OF MEELICK. '

BY HENRY ORATTAN CURRAN, ESQ.

LoDg in lonely despair have I worshiped the dream.

That brightens my heart with the glow of thy form ;
Let my slumber's vision, my day's hallowed beam,

Let it shine, my soul's treasure, to brighten and warm.
How can thy bosom be cold to the swell.

Of the faith, the devotion, that's nurtured in mine;
Nay, my own love, let thy kindness dispel

The clouds, and bid morning around me to shine.

In the sorrow, the anguish, that tortures my breast,

I weep for the hour that endued it with life;
In thy sight alone, I have rapture and rest,

Look down, my soul's love, on my spirits dark strife.
Fly from the world, from its coldness, its guile,

Oh fly to the breast, whose rich promise thou art ;
Let not distrust ever shadow the smile.

Chill the love that united us once heart to heart.

312 IRISH MINSTRELSY.

^5UT |fill ^ bh^ile ^i|t mo ch$mh<(itile,
Och ! IT xi bhibh e<^b]t^inn A cc$mhnuibhe !

^ip ^n IMchc-p Thw^p T^llffshe^nii An 5h)u<(ti

fyi^^ibm Aoibhinn c-f AmhiiA ; —
C^ <^ii c-i^T^ Aip Iwiw, <^'t ^ ce^cbc Ann ^An ccoinn^

*!* nA coinineAbhA Ann piA sleAnncAibh ;
C& An chnobh Aip An c-flAic, 't An c-6An Ai|i A neAb,

'Tf 6 reinneAbh ceSil Aip An Am pn,
y An c-S bh^nfAbh A leA]*, bo pAchAbh y^ Ai]t bhcAf,

5o fVlileAch A3 b^nAbh cleAmbnAir-

^'m chp^bhe fash cA fAmhAil^ Aoibhmn mo chAflA^

C& A Cfiiltn cAtcK, qiAobhAch,
H b&lin meAU, A'r A spuAbh Aip UrAbb,

I* A |iiob mAp yhneAcbcA T&beAcb ; —
^ chomAmn mo chjidJbhe ! nA'p fbonA bho'n c4

60 cbAichi^Abh An olbhcbe b'^ bp^sAbb,
'Y e A sp&bb bo cblAoibh me, A't cbft&bh fi m*inann

215117 b*|:b&5 m6 Aip bich mop ceille.

SENTIMENTAL SONG. 313

O'er the monumeDt brightens the midsummer dawn^

Where it looks from the west on the gush of the mom;
Through the wave bright forms wanton radiantly on^

And the warren's grey flock the green valley^ adorn.
The nuts thickly cluster ; the bu-d to the day

His shrill matin pours while it streams thro' his bower;
Blest is his lot^ doomed in Meelick to stray^

And to call thee his own^ the bright yale's brightest
flower.

Deeply shrined in my soul is thy image, dear maid.

Thy lip's honied store — and thy cheeks summer glow ;
And the tendril play of thy brow's sunny braid.

And the sheen of thy neck like the sparkling of siiow.
Light of my soul ! what a transport for him,

Through whose bosom can tremble each motion of
thine;
My soul is enslaved — and my sight becomes dim,

As I gaze on the riches my love must resign.

In yon bright distant isle,' with my Mary to rove,
To gaze on the amber of each glowing tress ;

314 IRISH MINSTRELSY.

|Vlo chfte^ch 5K^|t bh|t6rM^ch ! 5^ me A'r mo TC^i|ii?i^

'X ^r\ oiUiJln rbK^f, ^^h|U^h, ^oibhmn !
M^pe ^n chijil ^m^i^ich <^5iir ^Hobh h^ A bheich pij^

'X 5<^n c6it <^ici K c$mh<(iitle 60 ch^oniedbh : —
^'l b'^Qji n-b^ch, ^juT iti bhefbh 50 b^jh,

f^imK bh-fii)tfibli «)im An $i5-bhe<^n mhiMil<^,
'Tf c^im-te 3^11 f$5hn<^bh, b6<^m:<^)t mo chomh|iK,

^5ur T^isdie^p mi K 5-Ceillmh^m |fece.

SENTIMENTAL SONG. 315

With each vow fulfilled and recorded above.

Grant me this, fate hath nought that beyond it may
bless.

Alas ! cruel fair one-;-she heeds not my tears.

And the truth I have cherished consumes me in vain ;

Sorrow hath brought me the whiteness of years.

The cold grave brings repose — let me rest in KlUmain.'

NOTES

SENTIMENTAL SONG.

NOTES.

BRIDGET FERGUS.

' Throughout our lovely island, in the most sequestered vales
and hy the loneliest mountains, may be heard numerous charm-
ing melodies, linked to sweet stanzas in our native language,
which form an unrivalled combination of music and poetry.
Several of these airs have been collected and published, and
have called forth general admiration; but the words to
which they were originally '' married,*' and which it may now
be seen, had some claim to attention, lay universally neglected.
This can be attributed only to their being wrapped up in a
dialect but little known to literary men, for their merits have
been testified by many distinguished names. James Mac
Pherson, author, or, as our Scotch friends insist, translator!
of " Poems of Ossian," in his preface to that work, declares,
that the Irish love sonnets and elegies " abound with beautiful
simplicity of sentiment, and wild harmony of numbers." A
much higher poetical authority, Edmund Spenser,* describes

* The admirers of this celebrated English Poet may be gratified by a few
paiticalars concerning him and his family, (extracted from original documents,)
which may serve to correct some errors of his biographers, or supply information
which they do not appear to have possessed. On 12th of August, 1580, Arthur,
Lord Grey, accompanied by Edmund Spenser, as his secxetary, arrived in

320 NOTES.

Irish poems as, ** sprinkled with some pretty flowers, wldch
give good grace and comeliness unto them." Other testimonies

Dublin, and on the 7th of September following, was sworn lord depatj of
Ireland. On the 22nd of March following, Spenser was appointed desk of the
decrees and recognizances of chanoeiy, and his patent was given ** free fron
the seal in respect he is secretaiy to the Right Honorable the Lord D." In this
department he was succeeded on the 22nd of June, 1588, by Ailand Usher,
kinsman of the celebrated archbishop of that name, and Spenser was appointed
clerk of the council of Munster, an office afterwards filled by Richmd Boyle,
firit earl of Coik. On the plantation of that province, qneen £lixabeth, fay
letten patent, dated 26th of October, 1591, granted him the manor and csstle of
Kykohnan, with other lands, containing 3038 acres, in the barony of Feimy,
county Cork, also chief rents " forfeited by the late lord of Thetmore, and the
late traitor. Sir John of Desmond."— Or^. Fumt, RolUoffu», Dutim,

Here on the banks of the Awbeg, the poet's " gentle MnUa," was wiitlen dbe
Faery Queen. But Spenser was not so devoted to the muses, as to n^lect his
newly acquired poisciiions ; on the contraiy he stands charged with baTing ui-
justly attempted to add to them. Hb encroachmenti on the Mac Caithy'i are
well known, bat he did not confine himself to these alone. In 1593, Manrioe^
lord Roche, viscount Fermoy, petitioned the lord chancellor of Ireland, aaiing,
" wheaie one Edmond Spenser, gentleman, hath lately eihibited suit ag^int
your suppliant, for three plowe lands, parcell of Shanballymore, (your snppli-
ant's inheritance,) before the vice president and counoeU of Munster, wiich
land hath bene heretofore decreed for your suppliant against die said Spenaer and
others under whom he conveied ; and nererthetesse for that the said Spenser
being daik of the councill in the said province, and did assyne his office nnte
one Nicholas Cnrtey's, among other agreements, with covenaunt that daring his
lief, he should be firae in the said office for his cawses, by occacoa of vHucb
imunity he doetfa multiply suits against your suppliant, in the said pnmnoe,
uppoB pretended title of others." — Or^, RolU offie$, — At the same time, kxd
Roche presented another petition against Joan Ny Callaghan, whom he states
to be his opponent, " by supportation and mayntenaunce of Edmond Spenaer.
gentleman, a heavy advemiy unto your suppliant." — Orig, — He again eidubiied
another plaint, " that Edmond Spenser, of Kiloolmas, gentlenan, hath eatend
into three plough land, parcell of Ballingerath, and disseised your anppliant
thereof and continneth by countenaunce and greatnes the possession thereof and
maketh great waste of the wood of the said lande, and conveiteth a grant denle
of come growinge thereuppon to his proper use, to the damage of the com-
' plainant of two hundred poiuds starting. Whereunto the said Edmond I
appearenge in person had several dayes prefixed unto himeperemptorilie to a
which he neglected to do ; therefore after a daye of grace given," on ISA of
Februaiy, 1594, Lord Roche was decreed his possession. — Oiig. 0serce. —

NOTES. 321

might be produced, but the originals, or those contained in these
volumes, and now, for the first time, collected, preclude the

When Spenser — ^the poetic, the gentle Spenser, was guilty of these oppressive
and unjust proceedings, the reader may easily guess at the conduct of his more
ignorant and brutal fellow planters, by whom the country was converted into a
desert* For these, and other aggressions on the unfortunate natives, the poet
soon afterwards felt the full weight of their vengeance. Ben Jonson informed
Drummond of Hawthomden, that Spenser's house was burned, and a little
child of his consumed in the flames ; that he and his wife narrowly escaped,
and that he afterwards died in King Street, Dublin, in absolute want of bread.
His name is still remembered in the vicinity of Kilcolman, but the people enter-
tain no sentiments of respect or affection for his memory. — Set Tntter't Walkt
in Inland.

That Spenser died in London has been asserted by some of his biographers ;
but Ben Jonson's information seems corroborated by a record lately found in
the Rolls office, Dublin. He left two sons, Sylvanus and Peregrine. In 1603,
the former petitioned the chancellor of Ireland, stating, " where your petitioner's
father Edmund Spenser was seized in his demesne, as of fee, of Kyllcollman
and divers other lands and tenements in the county of Corke, which descended
to your petitioner by the death of his said father — so it is right honorable, the
evidences of the sayd inheritance did after the decease of petitioner's father cum
to the hands of Roger Seckerstone, and petitioner's mouther, which they uniustly
detayneth, which evidences for as much as your petitioner can have no accion
at comon lawe, he not knowing theire dates and certainty, he is dryven to sue
in consideiacon byfore your Honourable Lordship, and avereth that the said
Roger Seckerstone, his mouther's now husband, uniustly detayneth the said
evidences to your petitioner's damage of one hundred pounds, wherein he prays
remedy."— Or%. Petition.

Sylvanus had two sons, Edmund and William. On 18th of February, 1638,
Charles I. by letters patent, confirmatoiy, granted to Edmund the manor, castle,
&c. of Kilcoleman, and other lands in the barony of Fermoy.— Potmi InrtiUd.
William survived his brother. The following letter, dated White-hall, 37th of
March, 1657, appears in the Irish privy council book, A. 28, p. 1 18. preserved
in Dublin Castle.—" To our right trustie and right wel beloved our councel in
Ireland. A peticon hath been exhibited unto us by WUUam Speiuer, setting
forth that being but seaven years old, att the beginning of the rebellion in
Ireland, he repaired with his mother (his father being then dead) to the Citty of
Corke, and dureing the rebellion continued in the English quarters. That hee
never bore armes or acted against ye comon wealth of England. That his grand-
fsEUher Edmund Spenser and his fadier were both protestants, from whome an
estate of lands in the barony of Fermoy, in the county of Corke, descended on
him, which dureing ye rebellion yeilded him little or nothing towards his releife.
VOL. I. Y

322 NOTES.

necessity of so doing, by enabling every reader to form his
own opinion on the subject.

That je said estate hath been lately given out to the sonlders in w rfwfJMTmi ti
their arrean onely upon the aceompt of his professing the popish religioB, wfaidi
since his comeing to yean of disocetion hee hath, as hee profesaes, aUafy re-
nounced . That his grandfather was that Spenser, whoe by hia writiiigB Umdaag
ye reduccon of ye Irish to cxvilitie, brought on him ^ odium of that naoon, aad
for those workes and his other good senrioes, queene Elisabeth oonfemd on hiai
ye esUte which ye said William Spenser now claims. Wee hav« alaoe beca
informed that ye gentleman is of ci?ill conversacoa, and that ye eztremilie Us
wants have brought him to, have not prevailed over him to put him upon iafi-
rect or evill practices for a livelyhood. And if upon enquiry you shall fiade In
case to be such, wee judge it just and reasonable, and doe therefore deabe and
authorise you that hee be forthwith restored to his estate, and that leprisall laadi
be given to ye soulders elswhere ; in ye doeing whereof our satisfaccon will be
greater by ye continuaccon of that estate to ye yssue of lus gr a nd fa th e r, §tr
whose eminent deserts and services to ye oomon wealth that estate «ai
first given him. We rest your loving fieind. OLIVER, P."— This letter so
creditable to Cromwell, proved highly serviceable to die object of his ooa-
aideiatioa. Though Kiloolman and the other lands were passed under the act
of settlement to lord Kingston, sir Peter Courthop, Robert Fooike, and other
adventurers, yet they were afterwards restored to William Spenser, and be fasd
moreover, a grant dated 81st of July, 1678, of Caltrahaid, and other lands in the
county of Galway, and Ballynasloe, Tnllrush, and others in county Roseoenmoa,
contaimng nearly two thousand acres. — Pslaat lafsllsrf 29* CkmrUg IL — ^Tliii
William, by bis wife Barbara, left a son Nathaniel.

The poetV second son Peregrine, died in 1641, seised of the lands of Rinney,
near Kilcolman. Hugolin his eldest son and heir succeeded to those lands.
Being a Roman catholic, he attached himself to the cause of James II. and was
outlawed. By letters patent, dated 14th of June, 1697, the forfeited estate ef
Hugolin Spenser, in Rinney, three hundred and thirty-two acres, &c. were
granted to Nathaniel, son of William Spenser, esq. the next prolestant heir ef
said HugoUn.7- JnroUMt 9'* WiUiam JII.-~On 24th of November foUowiig,
William and Nathaniel Spenser, for £2,100, mortgaged all their estates in
Corii, Galway, and Roscommon, to Robert Peppard. On 26th of Fdwaiy,
1716, they sold the lands of Ballinasloe, with tiie fturs and markets there, to
Frederick Trench, ancestor of the present earl of Clancarty. These fairs after-
wards became the most noted in the British empire. On 14th of October. 1718,
Nathaniel Spenser made his will, (proved in 1734, in the court of Prerogative,
Dublin,) wherein he names Edmund bis eldest, Nathaniel his second, and Joho
his third son : he devises to Barbara his daughter, a remainder in bis estate, her
husband taking the name of Spenser. He also names his sister Susannah, and

NOTES. 323

" Bridget Fergus/' is, in the original, Brighdin Padruic,
Bridget, the daughter of Patrick. It was formerly usual in
Ireland, where in many places it is yet customary, for a female
until married, to be called by the christian name, and after
marriage, by the surname of her father. This is a Mayo song,
and has always been a favorite. The description of beauty which
it contains, is as heightened as in any composition of the East.
The allusion to the star may remind the reader of Edmund
Burke's* celebrated description of the Queen of the unfortunate
Lewis XVI. of France, " Surely never lighted on this orb,
which she hardly seemed to touch, a more delightful vision. I
saw her just above the horizon, decorating and cheering the
elevated sphere she just began to move in, glittering like the
morning star, full of life and splendour."

In this beautiful passage, the force of early impressions is
clearly shown. Beauty in our native lyrics, is frequently com-
pared to a star : —

ChoiiAi|tc me ^3 ce^^chc clms^m 1 cpe l^ji ^n c-yleibh,
f7l<^|i ji€ulc<^ chpib <^Ti 5-ceo6h.

I saw the fair damsel round the hill slowly bending,
Like a joy-giving star through the grey mist ascending.

UUecanDubh 0!

*Y ^ Thi^oilim Tp&Ti 3up bt {teulr n<^ Tn<^i6ne.

0*MoTe^$ Fair Daughter,

his wife Roflamond. Soon after this the rest of the property passed away from
the poet's name and family. The latter has long since become extinct, bat his
name will last as long as the language in which he has left such an imperish-
able monument of his genius.

* The partiality of oar immortal Countryman, Burke, for his native litera-
ture and its ancient remsuns, is well known. Through his interference, the Sea-
bright Irish manuscripts were sent to Trinity College, Dublin. He considered
he had thus restored them to Irekind, but the boon has hitherto proved fruitless.
These venerable national documents have been transferred from the gloom of die
convent to the tomb of the capulets. They have ever since slumbered undis-
turbed on the almost inaccessible shelves of our college.

Y 2

324 NOTES.

' The flower of Rakard!
The language of Bridget Fergus, and indeed of most <tf the
articles cootained in these volumes, is of the purest dialect of
the Irish. The present part of the work proves the superioritj
of our language for lyrical composition. In these ansloiy
effusions, no indelicate sentiment or allusion can be fomd;
nothing which may alarm the modest and virtuous character of
maiden innocence. As to the hk object of the present sosg,
tradition relates, that she lived about the middle of the sefei-
teenth century, and was the most beautiful female in Connanglit
Her father resided at Rahard, near Ballinrobe, in Majo.
The song was the joint composition of two contemiwniy
bards, Mac Nally and Fergus, the latter having composol
the third and fourth stanzas. It has been taken from the recital
of Hugh King, an old man, who stated, that his Grandfather
had often seen Breednine Padruie, as he called her, and used
to speak in rapturous terms of her beauty. This lyrical ren-
nant is often sung, and some commence with the third stsna.
The first line of the first, as dictated by another person, ru,
4^il m^c 1ti5h Tk^ ^pb|^U1ch, and the first of the fourtki
1r miUre hUkX ^ beilin^ both, I think, better than those girei
in our text. The acumen and taste of the Irish when delivering
their opinions on the poetical productions current amongst them,
have often been matter of surprise. Many .a remark have
we heard from uneducated villagers, on the sentiments and
poetical expressions contained in their old songs, which wovM
not duparage the pages of modem criticism. In this respect,
they far excel Englbhmen of the same class, but this may he
easily accounted for. From infancy they are accustomed to
hear these compositions repeated and sung. The words and
sentiments are imperceptibly imprinted on their minds, and
thus, a taste is formed of which the possessors are generallj
unconscious. The Irishman, through every vicissitude retains
the impress of those early feelings, which so powerfully svaj

NOTES. 325

the human heart, and to this source may be traced much of
the formation of our national character.

'TT ^ pi^^ wi^p e<^U^ —
A swan-Hke grace her neek dUplays.

Second Stanza.
The swan, a bird with which Ireland formerly abounded, is
an object of frequent allusion in Irish and Oriental poetry. So
Lord Byron in his poem, " The Giaour/' an Eastern Tale :—

*' The cygnet nobfy walks the water ;
So moTes on earth Circassians daughter,
The loveliest bird of Fraufpiestan ;
As rears her crest the ruffled swan.
And spurns the waves with wings of pride.
When pass the steps of stranger man."

The beautiful simile of the swan in '* (yMore's Fair
Daughter^*' p. 35, may here recur to the recollection of the
reader. Our Irish poets, like the Arabians, have delighted
id description of female hair. Thus, Lord Byron in the
same poem : —

<* Her hair in hyacinthine flow.
When left to roll its folds below ;
As midst her handmaids in the hall.
She stood superior to them all.
Hath swept the marble where her feet
Gleamed whiter than the mountain sleet.
Ere from the cloud that gave it birth.
It fell and caught one stain of earth/'

And Professor Carlyle in his translations from the Arabic :-

« Thro' midnight gloom my Leila stray'd,

Her ebon locks around her play'd ;

So dark they wav'd— 'SO black they curl'd.

Another might o'erspread the world."

.1"

326 NOTES.

Many passages might be produced to showthe affinity betwees
Irish and Oriental poetry. They are, however, pcMtpooed for
some other opportunity, in order here to introduce and presenre
a popular Mayo song, composed by a friar of the ancient abbey
of Ballyhaunis, in that county, whose name was Costello, and
who fell in k>ye with a beautiful girl of that place. TraditioD
tells, that after pouring forth his sonl in these tender staaas,
the love-sick ecclesiastic preserved his vows by tearing himself
from the object of his dangerous affection,, and departing for
a foreign land, where he died. The air is sweet and plaintive.

Och ! cdbh<^i|i bo Umh 30 bUtch bhdmh !
T 3"P ^"^^ b<^mh bu<^bh ti<^ 06136 b'-ph^shdil,

50 bii^ch n& 6e<^Ti mi bhililcAbh !
11 chuil nd n-budl, 'fe mo chumh<^ibh 30 huAn,

4l<^ch bh-'puilim le<^c ^ruAibhre A 3-cla^TnhTK^T,
beibheAb 30 buAijic if^ Th1oji-3h|iu<^iTnh,

|7li^ bhibhiit bh-|:<^t) uAmi-j-e A AnnT^chc.

11 bhUich nA 3-cAoii, ch<<pUi3h m^,

CU^oibhce qi&ch le 3|ie<^Tiii buic
C<^Iili Tp<^ot'ni 6hei3hin, <^ puin mo chleibh,

X c^^bh^^ip 3|i^bh 3<^ii chlAen 3<^ii ch^m 6<^mh.-

NOTES. 327

^^P^^p^^oiji sh^uji ! *T lYi^ 'n ce^nn ^^n cheill !

'X bo ch^mhAijile Tn'^ch^ji rtiop ufnhlui3he<^r 5
T S^^P ^'® cSmhi^bh 6&3hediiTiAch bubhAi[ic fS liom

" Cji&s-p b^ttlr-^ch-Th^mhrK^il-."

^Ichc chu3 me 3p&bh, bo'b chtiitin b^n,

6o'b bh&lin cl&rch, iifK^p chubh^^p nA qi^shA,

6o'6 bheul ly biiine, n^'n church (^iji bile,

|7lo tSim 't two tnhille^bh ! 3<^n me 'x ^ chum<^inn,
lis guU3h<^i)h le n<^ cheile.

21 3hpK6h 't A jium, ^ n-3lu<^inpe^6h liom, •

5o nji hA I0113 <^T Ciitmn ?
^Vl arnie^T cinn, n^ zmjiye cpoibhe,

4l<^ch Iei3hednp<^i6he <^nn s^n <^mhjK^i-^ —
'7* td An tt^ulc eoluir, ch<^[i mhnidbh nA "^p^bhlA,

II3UT cum3ibh <^3<^6 fcm 6'n m-b^T me ;
Oip 3<^ii 3P^T^ 66, Tfi mhAiit^bh m6,

'Zlip <^n c-nii(i6-p bh6ul-{^ch-Thdmhn<^iT.

The word cum3ibh, in the sixth line of the last stanza,
should have been written coii3bhAi3h.

Here it may be observed, that the usual term for lyrical com-
position in Irish is <^bh|i<^n, which means, literally, sweet verge.

328 NOTES.

This word is compounded of Abh iweei, aad p^n a verse. It is
somedmes called ifbh^n, compounded of iji sotrnd or imdadf,
and bAn a poem ; and 6]tAn, from o|i, and |U^ii a vene. The
latter is generally used by the OmI of Scotland.

EILEEN A ROON.

Eileen aRoon, EUen the secret treasure of my hearty b one
of the most popular of our songs. The present words are the
production of a Munster bard, of the seventeenth century, wfao
endeavoured to excel, by profusion of pontic embellishment, tbe
original and sweetly simple song of EUeeti a Roam, to be
found at p. 264. The incident which led to its compositioB,
will appear in a subsequent note. The air is ancient, and oae
of our finest. Handel, as related by the venerable Cliaries
O'Conor, in his Dissertations on the History of Ireland, (t
book which ought to be in the hands of every Irishman,)
declared, that he would rather have been ther author of Bilem
a Rocn, than of the most exquisite of his musical compositioiu.
This ancient Irish air, which our oldest people familiarlj
remember {ix>m their infancy, has been, some few years ago,
introduced to the British public as a Scotch melody, under
the name of Robin Adair, The grounds for this assumption
appear in the correspondence between Robert Burns, aod hk
publisher Thompson, in 1793. The latter in a letter to the bard,
wishes him to give " Rolnn Adair,'* (meaning Eileen, a Rofmy)
** a Scottish dress. Peter (Pindar) is furnishing him with an
English suit. Robin's air is excellent, though he certainly has
an out of the way measure as ever poor pamassian wight was
plagued with." Bums in his answer says, '* I have met with
a musical Highlander, who assures me, that he well remem-

NOTES. 329

bers his mother singing Gaelic songs to both Robm Adair and

Gramaekree,'^ (our MoUy Astcre.) ** They certainly hare" he

adds, *' more of the Scotch than Irish taste in them/' Here

we must differ with the bard. He then continues, ** This

man comes from the vicinity of Inverness, so it could not be

any intercourse with Ireland, that could bring them; except

what I shrewdly suspect to be the case, the wandering mins*

trels, harpers, and pipers, used to go frequently errant through

the wilds both of Scotland and Ireland, and so some favorite

airs might be common to both." Burns was a poet. In the

iirst part of his letter he was dealing in fiction, in the latter

part tlie truth forced itself on him. Qn this proof, however,

the airs in question were pronounced Scotch. It would

seem they were not aware that Robin Adair was an Irishman.

He was ancestor of viscount Molesworth ; lived at Hollypark,

in the county of Wicklow ; and early in the last century, was a

member of the Irish Parliament. With respect to Molly a Store,

or as Burns called it, Gramachree, as well might it be asserted,

that the hill of Howth lay in Perthshire, as that this ancient

air was Scotch. Indeed further to notice the assertion would

be almost as ridiculous, as seriously to go about proving, that

that well known hill was not always ** the pride of sweet

Dublin harbour," and never wandered to Inverness.

Burns' wish, however, to appropriate these *' gems of genius''
to his country, is at once evidence of his taste, and of their
beauty. The consideration of their ancient names alone,
would have been sufficient to show the error of his conclusion.
The endearing expressions of love with which our poetry
abounds, and the affectionate terms of our colloquial inter-
course, are to be found only among the Arabians, and in
some degree among the Spaniards. Eileen a Roon — Grama-
chree — Molly a Store — Sa Vowmeen DeeUsk — CeandtMDeelith,
and hundreds of similar phrases, are as familiar to our people
in ordinary conversation, as the air which they breathe. Poetic
stanzas, full of those tender expressions, are to be met with

330 NOTES.

every where like our shamrock. The foUown^,

yiiiobh^ ^puin ''Jdianna my hearths treaswe/' is takem bom

among them : —

01 yhiobh^, ^ |tuin ! ir cu b^ mh^itbh m^ |ti\mh z —
71 Yhiobh^n, A puin ! ij- cu fee bh^in Mom mo chilli : —
71 piiobbi^n, ^ piiin ! ij- bUiirh chiK^6b<^i|- e^Jb^p me A'r

'y bh-ir^jip bhumne bhacb 3<^n ruilibb n& cu lAeicrm A
(tiAmh !

It bpe&3h ^ bo rhnibh, 't cu ^ c-j-eoibh bo ctmiAbh 30 ceA|ic,
'Y cu An oAil^n $3 nAch (toibh olcAch, mniicheAch, le^Onh,
&o 3hituAbh iifiAii An [i$t, 't bo ph% mAji |-hiUeAMi nA

m-beAch,
*y 3U[i b'e bo chcol {teibh, ch$i3 me chmneATf A |-he^|ic !

PAISTHEEN FION.

Paistfaeen Fion, proDounced Fin, which may be translated
either Fair Youth or Maiden ; is an ancient and popular Con-
naught song. The air is sweet, but of a plaintive or melan-
choly strain ; such as can scarcely fail to remind the hearer,
that it is " the music of a people who have lost their freedom."
By the PaUiheeu FioH, I am inclined to think, was meant,
the son of James II. but the allegorical songs of the Irish
will be alluded to in another part of this work.

The ingenious translator requests me to observe, that be
fears he has not succeeded in transferring all the tenderness of
the original word Suirin. The disinterested affection, the ad-
hesion of kindred, the endearing diminutiveness expressed by

NOTES. 331

it^ are such, as perhaps excel, -what even ihe languages of Italy
have been so celebrated for imparting.

The Cu|i ipA, or chorus, has been frequently used by our
bards. Carolan introduces it in his /' George Brabazon," see
p. 70. and it may be found in other places. The term Cup f<^
** put under/' is used metaphorically. It signifies, a call from
the singer to the hearers, to join their voices in raising the
song, as mariners, or workmen, unite their strength in lifting
burthens. In general, the chorus has but little, and often no
connection whatever, with the words. I have known the same
chorus in Irish to be employed in the service of several songs.
A curious specimen of want of such connection, or rather want
of meaning in the chorus, occurs in " a righte ij^errie and con-
ceited" composition, well known in Galway by the name of
Speic Seoigheach, or '* The humours of Joyce's Country," a
mountainous district in the western part of that county : —

ydb 1 <^n Tp&c TfeSisheAch '3<^ cosbhi^il 30 h-WCTTiei^ch
Ibip n<^ TYini^ibh $3^ ^^'i* n<^ h-03^n<^ibh (^eipe<^ch<^,

Ir mo til lo, ^h^U.
Cup fis. — 6i'x mo pul^n, be pul&n,
T)u pul^n, ll^rpi pul^n,
Imbo l^n, ^'x ^^ X^uVl^n,
2I3UT Amhoch h^ppin n^ppin iK^n.

C13 nie<^x ^ip chti<^nn<^ibh beiWi cnu '3ui- ixibhcpAebh Ap

Up,
yUb ni<^p eon3n<^nih be^ch<^ bhuic, ^ ChAch<^il ui 6huibh-

^X mo til lo, <^b<^b$.

332 NOTES.

bW me Vk A^iiAch <^i[i den^ch n<^ C^[W^ 'x ^^ ^3 ^

Cu3 me 3edn &5in bo <^^n mshin pi<^TAn<^ich mhdi|t,

leis m^ cobhU^ bfieise opm b'Tpheuch^m An m-bl^Tp^mn

T ^3 ioTmf<^t3he <^n bhAtiYMAich, [idob<^bh mile mAtbe ^ip

mo ch$m.

Ir mo 111 lo, AbAbo.

The Joyces of lar-Conaughi are literally a race of giants.
We are informed from Joseph Ben Gorioo, a Jewish author
of the sixth century, that the Irish people ''are great like
giants, men of tall stature and very strong, most skilful in
throwing darts, and the stoutest soldiers in war." An old
writer adds, " of this race there is still a family in Conaught*
and one of them could take ten of the yalets of the present
king of France (Lewis XIV.) on his back, and run a conine
with a nimble footman. I am apt to believe, that the old
Scythian race is as much degenerated in Ireland, as the species
of elks and wolf dogs.'*— Ort^. MS. in the library of the E4f^
Irish Academy.

The town of Carra, mentioned in the above ludicrous stanza, is
situate near Castlebar, in the county of Mayo. The martallnded
to, was granted to Michael Cormick, of an ancient family of
Erris, on 19th May, 1618. The big Englishman, as tradition
tells, was one of the Cuffs, ancestors of the late lord Tyrawly,
of that county.

As a contrast to the foregoing, I am induced to conclude
with a soft little pastoral fragment, called Co|imAc ^s>
composed on the banks of the Lee, in the county of Cork.
It is worth preserving for the sweetness of some of the verses:—

CRib iK^ coilm <^3 TU3}K^bli *x ^r\ T<^mh[iAbh A3 cedchc,
'X 6.n hVkizh <^3 b[ti|-e<^&h zp^e mhulWchibh nA ccpAnn

NOTES. 333

'Hip choinn c&*n bioUtt 30 qiiojk^lUch, slume^^ch, 3UT,
'X n^ co[ic$3A <^3 pllMbh le h-iomAb be Thu3h<^bh nA
in-beAch.

^'T $i3-bhe<^n mhdiTe^^ch, che^^jic <^n c-Te<^n3-choi|tp ch-

Ceub bo bhAinne, c<^fk^ll 3|ioi6he '3UX u^n

ChoiT lA^ n<^ m-bjiedc, mo chpe<^ch ! m$ <^in bhibipc u<^ic !

C^i6 nA h'ein <^3 6e<^nd6h ^uch^ ^sax ceSil,

C^i6 fiA Uotsh A3 3eiiniie<^bh 30 cp^un chum yoch^ni n<^

m-b$,
C&ib nA h-&T3 ^3 p^ub<^bh copji<^6h Aip <^n bh-'peop,
^I'l" me-p -pern A'm AonAp A'l* Copm<^c % !

TRANSLATION.

The doves they are pairing, and summer is near,
Decked in green clustering cresses the streamlets appear;
The blossoms are bursting the tops of the trees.
And the hives are distilling the honey of bees.

With fruits, and with acorns, yon green wood is crown'd.
There damsels, fair damsels, are sauntering around ;
Lowing herds, stately steeds, by the trout loving Lee,
Fleecy sheep, graceful fawns, whilst Vm exiled from thee.

The birds there are warbling, there frolic the lambs.
For the hot streaming milk low the calves round their dams ;
The fish burst their banks and leap high on the shore.
Whilst I, and young Cormac, our exile deplore.

334 NOT£S.

LITTLE CELIA CONNELLAN.

In this, as in many of our amatory songs, the wamest
wishes are expressed for the enjoyment of private meetio^
with the beloved object, in some shady grove, delightful Taflej,
or sequestered island, where far removed from friends sod
relatives, they might freely indulge in the unrestrained ddfb
of virtuous intercourse. This is conceived in the purest spiiit
of romantic love, and without the least taint of any ridov
feeling or desire. The unsuspecting confidence which it neces-
sarily implies, is the truest test of its honorable tendency, aid
the surest safeguard of maiden innocence. This observatios b
rendered necessary from the present state of society, so very
different from that of our ancestors ; conclusions might other-
wise be drawn from those passages, foreign from the simple
meaning of the originals.

" The. plumy interloper, in the third stanza of the original,
is a ' pheasant,' but we trust the necessity of the rhyme wiff
justify our preference." — T.

b<^oitchA in the first Stanza should have been writtei
buAi&heA|tch<^.

The metre of this song is suited to a lively musical straia.
It is a composition of the county of Sligo, and an old favoiite.
The following stanzas in the same metre, from the neigfaboviDg
county, Mayo, being the original of the well known, " Bv»A
of Rushes,'^ will, it is hoped, be acceptable to the In^
reader : —

bi<hTi'h iu^icr)|i'iu

lA b*'f^\i etpish me 30 h-uAi5ne<^ch

IVbul tu<^T b^m' 30 Conb<^e ^n Chl&ip,

bhi mo 3h<^6h<^ipin liom 30 h-uAibhpe<^ch,
^13 u<^ill|:e<^iic 7 mc 3hun<^ <^m' lAimh :—

NOTES. 335

^A SpuAise seille, iMnne bpe<l6h',
6e'n lu<^ch<^iji bubh shalle bli^ch.

^In 1&5V^ 60 bhe<^|ic Aip tXp,
^0 An 6-aoqpi< liom <^nn u<^i3n«^T,

y^o^ bhiiuAch nA coille i|- sUiye bl<<ch.
T^3<^iF "^ bh-'F<^i3hibh ts^uI <^i]i,

4l& Aon neAch 6'^ bh-^uil le r^shAil,
50 b-nocTpAibh cAinc 6o'n ch&pyeich,

^I'r beupU bo'n lon-bubh bhpe^bh.

21 chAitin beA3 nA luAchpA,

5IAC i-uAimhneAy A't ^An 30 peibh,
^1 c^il buir A bheich chomh h-uAibhiteAcb,

'Zlnn uAi3neAx A'y cu IMc Y&n.
(VIA rcAip m€ bo chuib luAchitA,

ly buAl30 bh-'puil cuib cAp h&t,
l)Ain|jeA6 Wnfin buAn buic,

IVy uAlAch mop wAp chuille l^iy.

336 NOTES.

THE LASS OF FAIR FLOWING TRESSES.

This is one of the numerous sweet little songs to be foaad
in almost e?ery hamlet throughout the Irish parts of IrelawL
With these ancient ballads, and the delightful old Finian Tales,
in poetry and prose, the rural Irish are wont to recreate them-
selves after the toils of the day, when assembled round thdr
Tillage fire sides, they enjoy the only cessation from sufferii^,
which they know, or expect in this life. To these productiois,
our gentry, except, perhaps, some few aboriginal families, tie
almost entirely strangers. From this class of society they baiv
been banished to the cottages of the poor, where they have
been preserved, with a sort of religious veneration, as relics of
Ireland's better days. '' I heard an old Irish air sung," sajs
Trotter, in his Walks through Ireland, " with Irish words, bj
an Irish woman ; it was mournfully and remarkably melodioas»
sung very slow, and with astonishing and true pathos ; it ap-
pealed powerfully to the heart" Nothing can be more correct
than this description. It shews of what rich feasts of ses-
tifaiental poetry and music, political prejudice and religioos
bigotry have hitherto deprived their infatuated votaries in
Ireland.*

* Even our national musical instruments, the harp and bagpipe, seem to have
been considered as part of the paraphernalia of popery. In one of the first eari
of Cork's noted protestant eyries, Bandon, a poor wandering minstrel, has lately
been severely beaten, and had his bagpipe broken to pieces. The unlucky wigfct
ventured to play in that town, contrary to an ancient standing rule of the
corporation ;• and he was thus treated for annoying the orthodox ears of the
protestant inhabitanto with his native papistical tunes. Were these bigots
apprehensive that the charms of Irish music would *' sooth their savage breasts!"

NOTES. 337

' LORD MAYO.

This song, or, perhaps more properly speaking, ode to music,
"which is now for the first time printed, was composed by
David Murphy, a poor dependant of Theobald, fourth viscount
Mayo, a nobleman who first sat in the Irish house of peers on
14th May, 1661. It was composed in the hall of Castleburke,
a baronial mansion, now in ruins, near Castlebar, in the county
of Mayo. The music which is well known, and much admired,
was the production of Thady Keenan, a harper, with whom
the venerable Charles O'Conor was acquainted early in the
last century. In Walker's memoirs of the Irish Bards, will be
found an interesting account of both bards, from the pen of
his anonymous and excellent correspondent.

They have in the west of Ireland a favorite song, often mis-
taken for this ode, known by the name of Con6<^e |s/lh<^i3he$3
" County of Mayo," and sometimes as " The lament of
Thomas Flavell," having been composed by a bard of that
name, a native of the island of Bophin, on the western coast.
It is only remarkable for being combined with one of our
sweetest native melodies — the very soul of plaintive Irish
music. The words are here given, with a hope, that they may
lead to the preservation of the air : —

^X 6^\i <^n loin3 p ph<^i6i l^^oinye bo shnim-ye <^n 6ub|i6nj^
^13 o|*n<^6h ^nwx <^n oi6hche ^.'^ay <^3 fTop-shul 'y ^^ ^^

(TluTK^ mbeibh 3U|i 6<^ll^6h m' iTicle<^chc

7Vx ine ^ bh-Tp<^6 om' mhuinnp,

6<^|i Tn^^ipei^n ! ly nK^ich ^ c}i<^oinTpiTin-ye conb<^e |7lh<^i3he6,
VOL. I. z

338 notes;

Hn u<^i]i A Tnh^i|t mo ch&i|tbe bubh bhpe&bh mo cliuib Sqi,
b' olAinn lioiifi Yj^ineAch i 5-coTnhlii^b<^|t h^jii 03,

|^un<^ m-beich pop-Si tw^ 3-c<^pc^

T <^n M%h bheirfi po l&ibip,
^ <^' Y^nCTcput b* if9iyf^mn mo chn&mhA -p&'n bll-|»^.

CA 3<^6<^i6hni6h n<^ h-i^ice p ^^3 apishe^b po mhSft
'^Po chnorAbh<^ ^'x P h<^ip b^3 3<^n qti^chc Aip bhuclAbhA
bp63; *
&<^ m^ippei^bh b<^mh»|*A An lApuil
6h^n|:<^mn iiobh CK^nAch, .
f/unA m-bach 3up chA3<Up biA bh<^m A bfieich A
3-ci<^nc<^ibh -pA bhpon.

6a m-babh pAbpui3 lochlAinn 'nA i<^plA <^ip lApihl 30 i^A,
bpiAn 6ubh <^ chliAmh<^in 'ik^ chi3he<^pn<^ <^ip &hu<^chmom

?lobh i)ubh |7l<^c 3piAbA

'^^ chopn^l ^ 3-CliApA,
It <^n pn bhabh mo chpi<^ll-T<^ 30 cofi6<^e J/hAisheo.

» " By each bieued bell that's there,""^
Consecrated bells were formerly held in great reverence in
Ireland, particularly before the tenth century. Cambrensis io
his. Welch Itinerary, says, *' Both the laity and clergy h
Ireland, Scotland, and Wales, held in such great veneradon
portable bells, and staves crooked at the top, and covered
with gold, silver, and brass, and similar relics of the saints,
that they were much more afraid of swearing falsely by them,
than by the gospels, because, from some hidden and miraculous

NOTES* 339

power, with which they were gifted, and the vengeance of the

saint, to whom they were particularly pleasing, their despisers

and transgressors are severely punished." — Hoare^t translation,

of the Itinerary of Giraldus, LoUdon 1805, p. 31. Miraculous

portable bells were very common, Giraldus speaks of the

Campana fugitiva of OToole, chieftain of Wicklow ; and

Colgan relates, that whenever Saint Patrick's portable bell

tolled, as a preservative against evil spirits and magicians, it

was heard from the Giant's Causeway to Cape Clear, from the

Hill of Howth to the Western Shores of Conamara, *' per

totam Hiberniam."^-Co2(/ai». In Triade^ p. 103. Evinus who

wrote before the tenth century, says, '* Saint Ciaran's portable

bell still exists, and is held in high veneration, and carried

round to the assemblies of princes, to protect the poor, and to

raise contributions for his monastery." — Vita Antiq. Ciarini in

Actis SS, p, 458. This veneration for bells appears to have

been preserved unabated, from the days of Saint Patrick to

. those of our bard. — See Doctor O* Conor's Appendix to Cat.

Stowe MSS. p. 30.

It was found difficult to procure a perfect transcript of the
present ode. My first copy proved incomplete, and indeed
little better than a fragment, but this I did not discover until
after Mr. Furlong had versified it. Although his translation
of the complete copy is contained in the text, yet I am in-
duced to preserve his previous version of the fragment ; and
do so as I tliink, with the suffrage of every reader of taste : —

No more in sad suspense I'll pine,
No longer droop in lingering woe —

Quick ! hand that cup of cheering wine.
Let the rich Kquor freely flow :

And long, and loud, my harp shall ring.

While sheltered here I sit and sing
The praises of Mayo !

z 2 •

3i0 NOTES.

Mayo ! the flower of chiefs thou art.
Lord of the free and open heart —
Bold is thy bearing in the strife,

Where foes before Chee sink subdned —
Blest be thy days and long thy life.

Shield of the friendless multitude.
Spurn not thy minstrel's homage now.

Branch of the old and stately tree !
Oh ! hear his song and mark his yow —

By every saint or sacred thing

He swears — ^till life's last hour to clin^

In steadiness to thee —

Tracing thy footsteps faithfully.
Till his dark eye-balls earth shall cover.
And thought and feeling both be over.

' BROWN THORN.

The Droigkeanan Dmm, literally Brown Thorn, is oae of
our most popular ballads, and deservedly so. The words aie
sweet and simple, and the air is one of those tender plaintive
strains which find their way to the innermost folds of the
human heart, where they seldom fail to make a lasting im-
pression. The provinces of Munster and Connaught contend
for this song ; but the latter, where it is known and sung in
every hamlet, has, as far as I can ascertain, the best claim.
It is a composition of considerable antiquity. John Beraard
Trotter, who had been private secretary to the celebrated
Charles James Fox, and who made a pedestrian tour through
Ireland, says, in a small tract on Irish Music, — '' It had been
conjectured that the era of Drvman Don, was before the in-
troduction of Christianity : that it was composed for the cele-
bration of the Baal TTiinne, or the midsummer fire, in which

NOTES, 341

the thorn was particularly burnt. Be this as it may/* he adds^
" it is justly celebrated as one of our sweetest melodies; and,
whatever be the era of its composition, is an intrinsic proof
that we possessed at the earliest periods, a style as peculiar
and excellent in music, as our round towers prove we did in
architecture. The origin of both has perished, but the things
themselves remaiq as incontestible memorials."

Some years since, travelling through the plains of the great
western county of Mayo, in a poor cabin near Lough Con, the
writer accidentally heard a peasant girl sing the Droigheanan
DunUf in a strain still remembered with feelings of pleasure.
Among other songs which she was prevailed on to sing, was
one to the sweet old Jrish air, the '* Maid in Bedlam,'' beginning

*^ One momwg very early ^ one morning in the spring,
/heard a maid in Bedlam mat mournfully sing J'

Struck with the exquisite beauty and simplicity of the
stanzas, I transcribed them on the spot, from her dictation,
and hope, the same reason may serve as an excuse for intro-
ducing them here. —I do not know a sweeter song in any
language, and I think it impossible to translate it.

4l<^ch <^oibh1n bo n<^ h-eiTifnibh &'e1|tl3he<^n 30 h-i^|i6,

*y \ hydbhe^ai <^ ceileAbhAp le n^ ch&le <^i|t <^on chjiAoibli

^ Tn<^|i pn 6<^nih |:&n 'j bomh cheu6 inile 3|i&6h,
ll* ^6jb6k n-A ch&le oftuinn 6'eipi3he<^n 3<^ch 1^.

]\ b&inel ioTi<^ ^n lile, ly beiyel 'n <^n fS^mh,

lybmnel 'n ^r\ bheibhlmn 'TiTpillTeichel 'n& ^j\ ^hphr\.

342 NOTES.

It v^&it|i ioni( pn uile ^ h-uAiTl«^chc 'y ^ m^nn,
'f <^ bhi<^ ch<^ IT TK^ irUichiT t:u<^t3^iI bom phem.

*2ln poibh cu ^ip <^n s-c^pfi^is, no <^ti bh-TpAc<^bh di »?

^fjo An bh-p^c^i6h cu 3ile no ^pinne no TS^nnh n^ mn^
Tin bh-|:Ac<^i6h cu An c-ubhMl bubh nihilfe > bott

chuwhp^^ bl&ch,
^0 An bh-|:AcAi6h cu mo bhAibncm no bh-|Auil p '3 X

clAoibh mAp cj^im ?

bhibh me Aip An 3-cA|tpAi3 A't chonAipc me 60 shfAl*,
ChonnAipc me 3ile A3UT y^nne A3UT tS^^w^ nA mn&,
ChonAi|tc me An c-ubhAll bu6h milTc 't buMi chfimfr|i^

. bUch,
'2I3UT chonAijtc me bo bhAilmcin 't ^^ Thml p '3 & clAoB*
mAp ci^i|t.

CASHEL OF MUNSTER, OR CLAR BOG DEAL

If the foregoing ballad has been conceded to Conaufhti
the present cannot be denied to M unster, whose right is ^iW^
by internal evidence. The words and air are equally sveet
and simple, and both are of considerable antiquity.

'^lOT chAich An ^oit me A't 3up liAch mo cheAnn,
Tho' my locks now look gray and my blood runs chili.

NOTES. 343

This passage may remind the reader of one of Anacreon's
Odes, beginning: —

. MH /xc itvyrig 6pw<ra
Tfiv woXiav iOiipav*

Our bards appear not only to have been well acquainted
with the works of Anacreon, but to have admired, and in
many instances, imitated their beauties. One of them sending
a book to his mistress, addresses it as follows : —

016.

^l le<^bhft<^in, ly <^oibhinn 60 chftiAll
?l ccionn Ainbite tk^ 3-CK^bh 3-c<^Tn ;
ly qiu<^3h ! 3<^n Cu ^*m piochc ^ b-p&n, '
7Vx me-p |?&n ^^3 6ul <^nn.

21 leAbhpRiTi, It Kdibltinn buic

60 ch|ti<^ll, tn^]i ^ hh'ifwl TOO shp&bh ;
bo i£H\bhi(i\i Kr\n <^ti ipolc tn^p S|t, —
60 cWbhfiii ^r\r\ An b^b bh^n.

Again, on the difficulty of enumerating her chstrms : —

b^ TO-bubh bubh An |:h<^i[i3e,

7Vx c^^l^TOh bheich 'r\A p^^ipep b&n,

Cleidshe mine, 3e<^l<^

7Vj ^11 AW bhach Ai|t,<^ conn ^5 ttk^toH ;

344 NOTES.

Cpeishche ! mo c<^ilin beiT,

^t chiocf^bh liom bo t3|tiobh<^bh le pei^n.

Another bard tells us, that when his niistresB wms bora, a
bee came with a shower of honey, which fell on her lips : —

%n u^ifi pu5^bh An chuil|:hionn ch<^inic be<^ch bm^
le cioch Tne<^1A mine Aip \ cA%t-bheoU

The following fragments, translated by Mr. D' Alton, h«?e
been thought worthy of preserration. The first, is eTidently
• an imitation of one of Anacreon's odes, the twenty-aeccmd in
Mr. Moore's translation ; or, perhaps, it bears a closer
blance to the Epigram of Dionysius, translated ia tke
fascinating work.

?l fchi<^ 3<^n m'e <^m <^bh<^illin,

^6 ^m ^ilne^min &3in j
"^i ^m pot <^nn T<^n ns^ipbtn,

|VI<^p 6i n3n^chui3heAnn di ^b AonAp j
|71<^p yhtiil It 30 m-bhu<^m|:e&6h 6htom

5eu3^mm &^n,
bo bhi<^6h A3A6 ^b 6he<^t-^™*'

^fjo <^ m-bpollAch 3e<^l bo l&ne.

See the ripe fruit, — oh I. were I such,
That mellow hangs from yonder spray;

NOTES. 345

i

To win your eyes, to woo your touch,
Aod OD your lips to melt away !

Were I a rose, in some fair bower,
By thee selected from the rest ;

To triumph in thy choice an hour.
And die — upon thy snowy breast.

f

' ^'T lii3^in-6h«^|tc<^, A't Tnin-5hlAc<^5 ciojt.ch<^n<^

f

Cni^imh 'n A beol^
f '5**y 3|tiT-l^<^^j piob-Thne<^ch6<^, cioch-chAilce

^ 2i^c^, bUchTK^ib $3,

r<^&bh-ch<^rK^ TnTn-3he<^l<^, Ai|t 11 e<^l<^

30 qi&chc A bii63.

Adown her back in curls are roU'd,
fler yellow hair like beams of gold ;
Her downy hands— her full blue eye,
Her teeth, like fine set ivory,

Such is my lovely maid :
Like kindling flame her blushing cheek ,
Swan-like her majesty of neck ;
Her bosom white as earthless snow,
Are few of all the charms that glow

In my beloved Blanaid.

346 NOTES.

Blanaid was a celebrated Irish beauty of antiquity. For
her interesting history, and tragical end, see our Irish
Herodotus, Keating.

MOLLY ASTORE.

The air of MoUy AMiare, is one of the most popular hi tiiese
islands. Burns called it *' a heavenly air." Although it has
been more fortunate than most of our native strains, in meeting
with English words, yet it is confidently hoped, that its
original Irish stanzas will be found no way inferior to any of
those, with which it has been hitherto associated in English.

General Vallancey, one of the few Englishmen, whose me-
mory ought to be dear to the Irish, was so delighted with the
music of Molly Astore, that, in his enthusiasm, he very gravely
undertook the derivation of the name, and traced it to the
most remote antiquity. He tell ifs, from Diodorus Sicmlos,
that Bel or Baal was the Jupiter of the east, whose wife, the
Juno of the latter, was Astarte ; and that these were, ** the
Irish Beal and Attare-th, the latter pronounced AsioreJ* Mr.
Trotter tells us, that the song was composed " at the period of
Cormac Mac Con, a century before Christianity." Again, he
says, *' It is with some probability, supposed to have been
addressed to Astoreth, called in Irish, Astore, the Venus
of the Phoenicians." Vallancey was perfectly serious, but
Trotter could hardly have been so ; particularly, as he soon
* after adds, " It is evidently, however, the production of tiie
purest era of Irish song, as it has the general character of its
sweet and touching melody."

Englbh verses have been frequently written to this air. The
late George Ogle, member of pariiament for Wexford, was

NOTES. 347

author of a pleasing song, beginning, *' As down by Banna'a
banks I strayed/' whose principal charm lies in the Irish terihi-

nation of each stanza : —

" Ah Gramaehree ma CoSeen age
Ma MoUy A^sto

Our celebrated countryman, Sheridan, also wrote to this
air, the sweet little song m the Duenna, « Had I a heart fer
falsehood framed,'^ The sentiments of '' How oft Louisa,'' in
the same comedy, are said to have been borrowed from another
Irish song, beginning with* the following stanza: —

^l !2lnn^ ch^oni ^cU^ibe mhin rpK^ipc,

21 puin mo chleibh, n<^ be^w m bu^^ijic

C<^bh<^i|t 'p^oiye<^mh 6on pheinti c^^oi bom chu<^i|tc,

'y b<^ m-bubh liomy<^ ftpe <^'6 bei3 'y me 6kX\ qiu<^5h.

" The Plains of iVbir."— In the county of Meath there is a"
lake, which was anciently known by this name. In it was
drowned Turgesius, the Danish Tyrant, by Maolseachlan King
of Meath, A. D. 844.— iSec Annals of Ulster.

CATHERINE TYRRELL.

Catherine Tyrrell, vas a member of the ancient and res-
pectable family of that name, formerly residing at the Pace,
(Tyrrell's Pass) in the county of Westmeath. The lake,
called in the original " Erril" is probably a mistake for
'' Ennily" one of the most extensive and bedutiful of the
numerous fine lakes in that county.

348 NOTES.

The fair object of this popular and favorite song has
celebrated in other poetical effusions. Of one of these the
following is a fragment : —

'Y qiuA3h 3heup 3<^n me-p ^^uy C<^c<^iliii C'|uAll^

't) K\i rui6he no 'n-^ r«^r^6h, ^^ 3e<^c<^ibh bh'lA'-dK^di

^n oibhche bheich A3uinn chomh -^p^b^ pe bli^^in,

'il'X ^^ vnte Aip le<^b<^ le {^innpp n^ 3-cw^bh.

Few of our national airs are better known than " Ycmffkmi
Harbaurf'* which bears a strong resemblance to " CaiiUut
Ttrriall" The original words of that favorite rustic ballad,
have been thought worthy of preservation; with that view
they are here inserted : —

€001)^111.

V

|VlAibin bSmhtK^ich <^'y me <^3 6ul 30 h-€6ch^ill,

CXy^^bh ^n oi3-bhe<^n opm 'y ^r\ z-yVi^h ; —
^l 3pu<^bh ^\\i UT<^bh m^^p jiiy ^ n-3&ipbTn,

'Y h^ bhmne 6. b&lm 'n^ ce6lc<^ fi3he : —
le^3 mi l&mh <^ip ^ bp&3h<^ib le t^jij^y

*Jl3UT b'i<^pp m^ pot^n <^ip jrop mo chpotbhe,
^y i btibh<^ipc fi, " Tc<^b <^'t n<^ irpSic mo chloidn,

y n?l |:iOT mo bhSUir <^3 ne<^ch 'r ^n i:-r<^oT3he<^l/'

^I'l Achb u<^ip bhe<^3 b'Tph<^i3 me-p €och<^ill,
*2l't biibh^^ipt: mo ytop liom 3<^n Tfnlle<^bh ^\Sx; —

T 3^P c<^il^n ycoichce me c& A3 pubhhl <^n bhoch<^ip,
^13 idpp^^bh <^n eoUiT 30 Ce<^pKbh-Choinn ; —

NOTES. 349

'^ (^imhbhecin ^ n-3e<^ll<^nn cu be 3<^ch mle Th6|tc 6<^nih,

^I'T b& TC<^o1lTpe^ bh^^ile m^ 3<^n ipiubh nd m-b|t63<^,
']Pu<^[i<^Tr c^Tnh^^iple 3<^n bo le<^n<^Tnh<^in choibhche.

^13 p mo l^mh bhuic n^^ch bh-Tpuilim p$iT<^,
T 3'^P bu<^ch<^ill 63 me chu3 3e<^n bo mhn<^oi ;

'X b^ n-3lu<^Tppe<^ liom-y<^ ^^\l b-cuy 30 h-C6ch<Ull,
b^\i le<^m, b'^\i n-boich ! bubh le<^c loiitin oibhche : —

ChuipTpmn hi3h c<(ul c<^p ope, ^ 3-ce<^|ii: 'y ^ S-c^ip,

Y*iofK^ 6|i<^m<^nn<^ m-bi<^bh ipicn ^\ beSip <^nn,
•Jl'r b<^ibm 63 bo bheich (^3 biul bo cWoch.

COOLIN.

The air of this song is, by many, esteemed the finest in the
whole circle of Irish music. It is much older than the words
of our text, which have been attributed to Maurice O'Dugan,
an Irish bard, who lived near Benburb, in the county of
Tyrone, about the year 1641. There are several sweet stanzas
in Irish to this charming air, but the present are the best
known, and most popular. *' Coolin" means, the maiden of
fair flowing locks, but the original werd is retained in* the
translation, being now, as it were, naturalized in English. Th#
following is the first stanza of a spirited version of this song,
made by our learned and talented countryman, the late Mr.
Clinch, in the year 1702 : —

350 NOTES.

Did you see the long auboro locks of my queen.

As she bounds with dry feet o'er the dew pearled ^reen ;

But, oh ! if you knew her soft languishing air.

And the yirtues that dwell in a bosom so fair.

* ** In Belanagar dwells the bright blooming maidr.**
There are ,many places of this name in Ireland. One of the
most distinguished is Belanagar, in the county of RoscommaB,
the seat of O'Conor Don, the descendant of the last of the
Irish monarchs.

Walker, in his Memoirs, tells us, that when Henry VIII.
ordered the mere Irish to be shorn, a song was written by
one of their bards in which an Irish virgin is made to give tbe
preference to her dear Coulin, (or the ytntih with the flowing
locks,) to all strangers, (by which the English were meaDt,)
or those who wore their habits. '* Of this sonjc,'* be adds,
" the air alone has reached us, and is universally admired." —
For Mr. Moore's beautiful words to this melody, beginning,
'' Though the last glimpse of Erin," see his Irish Melodies.

The following additional verse occurs in some copies of the
original :

21 nihiii|iiiin <^'y ^ ^nny^chz bo nihe<^ll m^ 6. 6-dif m'oise,

\eb chlu<^n<^ibhe<^chc bhtnn, nihe<^bhlAch 'y 3up 5he<^U

cu wo phoT<^6h,

[AK chu3 ^^ chjioTbhe sfie^nn buic, A'y b^n lioni 30 m-bubh

leSp pn,

It TYiop ci^iTYi bill 6i lionn-buhh 'n u<^i|t n^^ch lioiw cu

NOTES.' 351

ROISIN DUBH.

Roisin Dubh, Little Black Rate, is an allegorical ballad,
in which strong political feelings are conveyed, as a personal
address from a lover to his fair one. The allegorical meaning
has been long since forgotten, and the verses are now remem-
bered, and sung as a plaintive love ditty. It was composed in
the reign of Elizabeth of England, to celebrate our Irish hero,
Hugh Ruadh O'Dimnell, of Tyrconnell. By Roisin DuhK
supposed to be a beloved female, is meant Ireland. The toils
and sufferings of the patriot soldier, are throughout described
as the cares and feelings of an anxious lover addressing the
object of his affection. The song concludes vrith a bold de-
claration of the dreadful struggle which would be made before
the country should be surrendered to the embraces of our
hero's hated and implacable rival. The air is a good specimen
of the characteristic melancholy which pervades Irish music.

" No nation," says General Vallancey, Col. vol. v. p. 363.
'' is more fond of allegory than the Irish. Their amcient poets
were celebrated for their Meimeadh or allegorical poems. No
other language than the Arabic has a word of this signification|
viz. Mamma^ a verse of occult mysterious meaning." — In the
third part of this collection will be found, some fine specimens
of this species of Irish composition. .

UILE CAN DUBH O.

The song of Sorrow, and well has it b^en so called, for it,
is truly a plaint of grief and despair. The words were com*
posed by one of the unfortunate sufferers expelled from Ulsteri
in the reign of James I. when almost the entire of that pro-
vince was confiscated, and planted with English and Scotch

352 NOTES.

adventurers. They were addressed by the exile to his mistre2«s»
to induce her to accompany him to Conaught, but she seems
to have been adverse to his suit The air is of the most remote
antiquity.

In another copy of this song, the first stanza reads as
follows : —

b^ b-nocp^ liom-i-^^ ^ peilnonn 30 ciit-^mhl^ibh,

^X m' u^ile<^c^n bubh !

bhe<^[i|:<^in cit<^mh <^i|i bli<^inne |:i<^i3h bhuic,

fVI' u<^ilecan 6ubh !

It 3^ l^^n bhe<^iip<^inn (^ep n<^ I0T13 bhuic ^^ax jeoVc^ n^
m-b&6,

TVy |:u<^ini n<^ 6-conn b^ in-bu^lAbh ^\\i <^n b-qi^ijh,

TVy bp<^OTi be'ii c-i<(ile m leis^pmn <^ti 60 cho?nh<^i|i.

It 3up cu m' u<^ilecJ(n feubh !

Tirawly, mentioned in this stanza, is a barony in the county
of Mayo.

CEAN DUBH DILIS.

Lovely maid with the raven locks, — ^This song is an instance
of the superiority of our language for lyrical poetry. Miss
Brooke states, that she gave up many a sweet Irish stanza in
despair, find herself unequal to the translation, '* I wi^ed
among others" says she, ''to have translated the following
lines of a favorite song, (Cean dubh deeUsk,) but it presented
ideas of which my j>en could draw no resemblance that pleased
me.'' After quoting the $rst four lines, she adds, " I need

NOTES. 353

not give any comment upon those lines, the English reader
would not understand it, and the Irish reader could not want
it» for it is impossible to peruse them without being sensible of
their beauty." The tender effect of the repetition of the word
deeluh, lovely or amiable, in the first line, cannot fail to
attract the attention of the reader.

The air of the present song presented so many temptations
to the taste and nationality of our northern neighbours, that,
!B4>bert Burns in a letter to his publisher, boldly assigns it to
Scotland. '' They have," says this fine genius, ** lately in
Ireland published an Irish air, a$ they say, called Cktun du
dUith, The fact is, in a publication of Corn's, a great while
ago, you will find the same air called a Highland one, with a
Gaelic song set to it. Its name there, I think, is Oran Gaoil,
and a fine air it is." In opposition to this fact, I may be
permitted to adduce another. I have myself, seen and known
old people who were acquainted with the air, and words as
given in the text, of Cean Dubh Dilish, long before Corri's
publication, alluded to by Burns, appeared. At that time, how-
ever, the literary outposts of Ireland lay undefended. It was
customary to appropriate without acknowledgment, and unfash-
ionable even to notice us, except either to censure or condemn.

Repeated aggressions sometimes provoked angry retaliation.
An anonymous author, has severely, but justly censured
Doctor Burney, the well known English writer on Music.
" Doctor Bumey/' says our author, •* has been extensive in
his research, and elaborate in his detail of the anecdotes of
music, as to dilate his history of them into several thousand
quarto pages !' Is it from the want of candour, or can it be
from the want of information, that he has taken little or no
notice of Irish music ? He has been at much pains to ascer-
tain t\0 first song that ever was set in score, and after having,
as he thinks, succeeded, he has exhibited the result of his
research. Had he no means of knowing to what country the
song really belonged. It remains with ourselves to do that
VOL I. A a

354 NOTES.

justice which others deny, and reclaim for ourselves those
gems of genius which enrich other countries with a negllgeat
profusion. It is to our countryman. Dr. Young, the late
lamented Bishop of Clonfert, that we are indebted for the
restitution of our property in a sweet and touching melody.
He proved that this very ancient tune of Buraey, is no odier
than our Samhre teachi, or, <' Summer is coming." It had
been handed down among the traditional melodies of the Irish
harpers, rescued at the meeting in Belfast, and secured in the
permanent characters of music, in Bunting's CoUectioD ; its
name imports its origin. The susceptible sensibilities of the
Irish, always felt in a high degree those beauties of nature,
which the features of their lovely country in happier tunes
presented. This sweet hymn was a tribute of gratefiil melody,
offered up by our ancestors to the opening year, and has been
sung from time immemorial by them at the approach of spfing.
To those who have resided among the peasantry of the Soathera
and Western parts of Ireland, where the national manners
are most unadulterated, this melody is at this day perfectly
familiar."

Another of these wandering melodies, is, the well known
Mvmeem. na grwaige baitie, which may be translated, ** My Jmr
<jr flaxen-haired darling:** though the latter word conveys but
a very inadequate idea of the endearing fondness expressed by
our Irish Mumeen. I am, happily, enabled to preserve the
original stanzas of this sweet song» and feel confid^it that
they will not be unacceptable to the Irish reader : —

71 m-b<^ile n<^ h-tni-e Thi<<it, ^ t^ mo shpj^bh le bli^bh^^m,

T 3^ bh-|:^T<^nn mil 'ti<^ 6i<^i6h, <^i|i lop3 A co^ T^n
c-i"li<^bh,
bK iphu<^iiie <^n u<^i)i, c<^iteiT n^ T<^mhii<^ : —

NOTES. 355

60 ^le^bhi^inn 5<^n f^Kb mo chi<^ll, bA n3^bh<^iTin 1 ^'m
tion
7l'y chuiitTpinn-re ^^ bp^n-xo 6hToin, sAn budi6hpe<^6h ;
2U\i cb^rnh^ijile pus^^bh piAmh/ nt pho-pfx^b <^chc wo
mhK^nn,
*X 1 jTliiipriin n<^ 31tu<^i3e WLine !

^13 6poiche<^6 n<^ h-<^ibhne moipe, choTK^ipcei^T-f^ ino

^liTiTi|:hip 6he^T ti<^ n-op-Tpholc bh-Tp<^iTirie<^ch ; —
'T 5^ ^'^^ mKTlTe 30 |:<^6<^ ^1>^3j 'n<< mil 't n& pucp<^6h
<^ip bSp6,
*Y n^ 6e<^3h-bhl<^'r 'ro3b<^il ipion ypAmne<^ch : —
71 bK cHToch chopp^, chpumn, bh^n, mhiliy, chumhpA^
bhpe&3h,
^<^p Thnedehc<^ bhi<^bh 6h<^ ch^pniK^bh <^ip fbl^bhabh ;
T 5^ n30ipe<^Tin ^n church 3<^ch ^m, l^p ^n 3heimhpe^5h
th6XU
'X ^ m.b<^ile m.bi6he<^Tiii mo shp^bh b'^ bp^3<^6b.

bK b-|:<^3h<^mn-'re mo po3h<^, be mhn&ibh be6^^ ^n
bomh<^m,
2I3UT |:&3h<^im oppch^ posh^m xh^ycA ; —
T r^^P ^^r ^ ^^P ^^ le<^bh<^ip, chK'n chp^ebh ^ici ij
6. ccionn,

'Y c&ib n^ ceubA Tpedp 30 bubhAch A nspKbh l&i ; —
Aa2

356 NOTES.

'Y i y<^inhAil-Teo bo molAbh, teiif ^ 3-c&ib |ii5h Y*olAnili ;

*y r\ {^ici-p tA An po^c It &ilne ; —
fleibhcij^-p mo bhocb^m '3ui" y6js\} me o bhAf ob^n,

II |7lh(h|mtn n<^ 3|tuAi3e b&me !

EILEEN A ROON.

The air of this sweet and simple ballad has beea already
noticed. Of the varioas accounts of the incident which gave
rise to the composition, the following is esteemed the most
probable. — ^Carol O'Daly, commonly called Mae Caomk Bui
Cneamha, brother to Donogh More O'Daly, a man of moch
consequence in Conaught, was one of the most accomplished
gentlemen of his time, and particularly excelled in poetry and
music. He paid his addresses to Ellen, the daughter of a
chieftain named Kavanagh, a loTely and amiable young lady,
who returned his affection, but her friends disapproved of the
connexion. O'Daly was obliged to leave the country for some
time, and they availed themselves of the opportunity which
his absence afforded, of impressing on the mind of Ellen, a
belief of his falsehood, and of his having gone to be married
to another ; after some time they prevailed on her to consent
to marry a rival of O'Daly. The day was fixed for the
nuptials, but O'Daly returned the evening before. Under the
first impression of his feelings, he sought a wild and sequest-
ered spot on the sea shore, and inspired by love, composed
the song of Eileen a Roon^ which remains to this time, an ex-
((uisite memorial of his skill and sensibility. Disguised as a
harper, he gained access among the crowd that thronged to
the wedding. It happened, that he was called upon by Ellen

NOTES. 357

herself to piay. It was then, touchiog his harp with all the
pathetic sensibility which the interesting occasion inspired, he
infused his own feelings into the song he had composed, and
breathed into his <' softened strain/' the very soul of pensive
melody.

In the first stanza he intimates, according to the Irish idiom,
that, he would walk with her, that is, that he would be her
partner, or only love for life. In the second, that he would
entertain her, and afford her every delight. After this, he
tenderly asks, will she depart with him, or, in the impressive
manner of the original, *' Wilt thou stay, or wilt thou come
with me, Eileen a Roon." She soon felt the force of this
tender appeal, and replied in the affirmative ; on which, in an
extacy of delight, he bursts forth into his " hundred thousand
welcomes." To reward his fidelity and affection, his fair
one contrived to <' go with him'* that very night.

This ballad has been erroneously ascribed to the sixteenth
century, for it bears internal evidence of greater antiquity.
The first line of the second stanza, '' I would spend a cow to
entertain thee," alone proves that it was composed before
coined money was general, or when ** living" money was
in use. The tribe of O'Daly furnished several bards of cele-
brity. Donogh More O'Daly, Lord Abbot of Boyle in 1244,
was a famous poet, emphatically styled, the Ovid of Ireland,
from the sweetly flowing melody of his verse. The publication
of his poems, of which there are several remaining, although
in general of a religious tendency, would be a considerable
and valuable addition to our native literature.

From the concluding stanza of Eileen a Roon^ was taken the
well known motto of Irish hospitality, Cead miUefailie.

358 NOTES.

JEMON A KNOCK.

Edmond Ryan, better known by the name of Ewum a
Knock, ov, Ned of the Hilis, is said to have been one of those
numerous adherents of James the Second, who, on the defeat of
that monarchy were outlawed, and had their estates confiscated.
After a roving predatory life, pregnant with romantic adventure,
our hero was interred in the church of Doon, near Lough Giur,
in the county of Limerick, The song is purely allegorical,
Ireland being designated by the beautiful female addressed ;
but the allegory being now forgotten, the composition is known
only as a love effusion, and has been therefore included in the
present part of this work.

Although Emon a Knock is thus stated to have been a real
personage, and even the place of his interment pointed out,
yet there is reason to think, that the name is fictitious, and
that it was intended to represent, generally, the disappointed
followers of the Stuart race. Miss Brooke has translated
this as an *' Elegiac Song." I do not intend here to make any
comparison between her version and that of Mr. Furlong.
On their merits the reader will, however, exercise his own
judgment, and whatever may be the result, we can never fail
to respect the name of our excellent and talented country-
woman. The following additional stanza of this song is
sometimes sung, particularly in Conaught : —

5oipiiTi chu A fli'ttpj soipim chfi <^ piiin,

5oipi?n chu noT n-u<^i|ie,
5oiitini 60 chul tk "Fishce 30 bMizh,

Tl'x soijiim bo chum u^^y^^l ;

NOTES. 359

5oi|ti?n mo 3hp^6h, m* <^n<^m A6' l^p,

7Vx lei3he<^i- o'n m-bi^T Tne-yi 3^11 Xf^Xi
71 i^inn-iphip n<^ ti-5^<^3 n-u<^y<^l.

The air is exquisite, but mournful, " dying in every note.*'
Our distinguiiibed Irish Patriot, Thomas Steele, Esq. whom \
have the honor to call my friend, speaking of this melody, says,
*' It is not excelled by any with which I am acquainted of
any country. I think it without an equal : it is a song whose
symphonies, to be in unison with its spirit of wild pathos and
sweetness, ought to be played on the iEolian harp, and by no
other instrument." — Practical Suggestions, London, 1828.

In the third stanza, the passage *^ say must I droop like
him — whose star set dcnrk and dim.'* — seems to allude to
James the Second.

IN THIS CALM SHELTERED VILLA.

This is one of the many pleasing ballads to the favorite
air of Coolin ; and the words, like most others to the same
charming melody, are inexpressibly sweet and tender. The
'' Lov*d Maid of Broka,'' in Bunting's Collection of the
Ancient Music of Ireland, versified by Hector Mac NeilU
from a literal translation of the Irish, is one of those ballads,
though there coupled with a different air. The first stanza
sustains the character of the original : —

O lovM maid of Broka, each fair one excelling !

The blush on thy cheek shames the apple's soft bloom ;
More sweet than the rose-buds that deck thy lov'd dwelling,

Thy lips shame their beauties, thy breath their perfume.

360 NOTES.

A copy of this song, which I have lately seen, begins
" ly Aip <^n ni-bjioice c& <^ti chmliphioiin," In Broca dweib
the Coolin. The ingenious Miss Balfour has also giveo a
translation of the '* Maid of Brocah,*^ See her poems, printed
in Belfast, 1810. No reader of taste will, it is hoped, be
displeased with the following extract : —

Sweet Virgin of Brocah ! though humble thy dwelling.

Thy manners how gentle, thy beauty how fair ;
Thy form light and graceful, each damsel excelling,

What daughter of Erin with thee shall compare ?
Oh vainly to rival thy blushes pretending.

The apple her blossoms in clusters may bring ;
Those blushes in nature's soft harmony blending,.

The radiance of summer, the softness of spring.

From the few beautiful specimens which she has given, it is
much to be regretted, that this talented lady had not turned
her attention more to the translation of Irish poetry. The field
was as ample as the labour was honorable, and she appears to
have been eminently qualified to cultivate it with success.

ELEANOR O'KIRWAN.

The fair subject of this old song was a native of Galway, in
the West of Ireland, and descended from one of the well-known
" fourteen" families of that ancient town. ** Comely Nicholas."
Cfummh Nioclais, mentioned in the original, is the tutelar
saint of the place ; and the inhabitants boast that before the
reformation there were several grand organs, and chapels in
his church there, in all of which divine service was frequently
celebrated at the same time, accompanied with a great variety
of sacred music— &e HUiory of Galway.

This song is remarkable for being the composition of the

NOTES. 361

famous harper O'Carrol, mentioned by Clyn, the Annalist, as
the first musical performer of the fourteenth century. Every
effort to recover the music has proved fruitless. I have been
assured that it was well known in Galway, in the last century,
but it is supposed to have died with an old musical amateur of
the name of French, who resided in that town a few years
ago ; and thus perished, perhaps, the last known relic of the
genius of O'Carrol.

The following lively stanzas, addressed to a fair namesake
of the young lady celebrated by O'Carrol, have been tran-
scribed from the dictation of a gentleman of her native place.

2lip iiK^ibiTi <^ n-&6 poiTYih 3hp&Ti 30 moch,
60 bheAjtc^y 6j\ bh6 Ik^ n^z6i cpuch,

f ne<^chcA <^3UT c<^op bh16h <^3 c<^iYrmpc 'nA yc^mh
'X <^ ye<^n3<^-chopp jhmh Tn<^p 3h&T <^ip t'^P^^c'^ 5 —
'X ^ chuixU mo chpoTbhe! c^b 'i 6j\ 3hpuAiTn pr\ ope ?

bubh blnnne 3uch c<^o?nh ^ beil le yule
'"^^ Oppheuy 60 lei3 30 y^on n<^ coipc ; —

l)h1bh <^ pAmhAp-poTC p&6h m^p chpioyc^^l TiATn-bp<^on
^lip TheAmi^ip 3hl<^Tr |:li&p poimh 3hp&n 30 njoch ; —
'X ^ chuirle mo chpoibhe ! c<^6 i 6ji\ 3hpuAim pn ope ?

The word rie^z^ in the second line, though usually so written,
should be ne<^mhbh<^, compounded of niAmh, glow or
splendour, and b^, for z^, an adjective and participial ter-
mination, meaning state, being, or condition.

3$2 NOTES.

THE HUNTER OF BEARHAVEN.

The youthful heir of O^SuUivaD, Dynast of Bearfaayen, in
Munster, in one of his hunting excursions towards Conatight,
aocidentally met and became enamoured of, the beautiful
object whose perfections are so vividly delineated io Iheae
verses. The fair maiden, is said to have been a member of
^ tKe noble house of OXonor. She is described by the bard,
as, the ** beloved of the Cian Murray*^ *\ t muittfie cl^nA
|7luifte<^b \y under which general appellation were corapie-
hended the aboriginal families of Conaught

The description of her beauty is quite in the strain and
style of Arabian poetry. — Hundreds of swains contend for
the fair one— Her clear azure eye leads hearts captive — Her
sweet glowing lips resemble the rose — She is a precious ^rtone
emitting rays, in which various hues alternately combine— She
is the delight of the learned — The charmer of young and old —
Fa&reM of Eve's daughters — Mirror of generosity, conferring
rewards on the sons of song, luchc ceoil — ^The darling of the
bards — The polar star of SHeve Guillen — ^Tbe white swan of
Loch Olin, whose side is like the lily — From her fairness a
splendour is reflected — Her golden tresses brighten the son's
ray.— rThey who have particularly studied oriental poetry,
may perceive many striking features of resemblance between
it and the sentimental song of Ireland. By adequate in-
vestigation of this subject, much additional light might be
reflected on the early history of the country.

WOUNDED BY CUPID'S BURNING DART.

. The fabled deities and poetical machinery of Greece and
Rome, were but seldom noticed by our ancient bards. They

NOTES. 363

drew on their own internal national resourses for illustration
and imagery. Accordingly, we find, Ckmnar the renowned
king of Emania, the beauties Deirdre and Bianaid, the famous
Finian Heroes, the aerial inhabitants of the hills, Dim, CH<ma,
and a numerous host of other real and imaginary beings, con-
stantly referred to as the classic peraonages of Irish poetry.
The goddess Venus occurs but once or twice throughout all
Cardan's songs; and, in our sentimental eflFusions to the
present, she, and her renowned companions, Helen, Cupid,
Juno, and Minerva, only are mentioned, and that but very
sparingly. Modem bards have made more frequent allusion to
them, but in doing so, they have incurred the charge of bad
taste, and a departure from the simplicity of their predecessors.
The Pagan mythology alluded to, is not suited to the genius
of Irish poetry. Many a production, otherwise faultless, has
been spoiled by the introduction of scenes and names foreign
to the feelings and language of the country. In some of these,
the poets, not satisfied that the subjects of their praise should
outshine our native heroines, Blanaid, Deirdre, Sfc, make them
also bear away the palm from the goddesses Juno, PaUcu,
Venue, ifc. —

60 chu3 tji bl^ich nA \^h le<^c

l)hl&chTi<^i6 A'r $ fcheijibpe^
lun$, phAlUr <^3ur i bh&iur

C^'n c-6bhMl 'y <^ chp<^obh le<^c 30 bpRch.

This is a fault which our ancient bards have rarely com-
mitted. Even these of modem date stand excused, by the
general practice of the poets of other countries in this respect,
until a recent period.

In the second line of the first stanza, p. 286, the word
3h<^rh<^ibh, should have been written 3h<^rh. See note 4,
p. 108.

364 NOTES.

» BLOOMING DEIRDRE.

The locideDt which gave ride to this ballad, is interestiiig and
curious. About the year 1400, Thomas, the sixth earl of
Desmond, after the diversion of huoting, having been benighted
between Tralee and Newcastle, in the county of Limerick,
took up his lodgings at the Abbey of Feale, (now Abbey-
feaie,) in the house of William Mac Cormac, owner of the
place; who had a beautiful daughter, whose name, according
to Lodge and Leland, who relate the circumstance, was
Catherine. With this lady the young nobleman became en-
amoured, and soon after made her his wife. On this occasion,
it is said, the present stanzas were composed, by one of the
earl's bards. The fair one is addressed under the name of
Deirdret the celebrated Irish heroine of antiquity. In the
concluding lines, the powerful and arbitrary chieftain is mani-
fested, for he peremptorily forbids all mankind, even so much
as to look at the fair object of his love. The match, however,
proved the cause of the earPs ruin. His followers became
enraged that he should connect himself with an inferior ; and
his uncle James, taking advantage of the feeling, drove him
from his estate and country, and in 1420, he died of grief in
France, where Henry V. King of England, attended his
funeral — See History of Limerick, vol. ii. p. 91.

Mr. Moore has made this story the subject of a sweet song,
beginning, " By the FaiFs wave benighted.'' — See Desmond's
song, Irish Melodies.

* ** Her tutelary power I hail,
Tho* like a cavern* d hermit, paU**
When this was composed, there were numerous hermitages

in Ireland, and the vestiges of many may still be traced.

Smith, in his History of Kerry, gives a drawing and

NOTES. 365

description of one at Galerus, near Limerick, in that county.
A small plate of copper in my possession, lately dug up at
Ayle in the county of Clare, (the seat of James Mac Namara,
Esquire, by whom it has been obligingly communicated,^ bears
the following inscription, engraven in Irish characters, uuder
the date 1041, all distinctly legible.

^^ b^^innedch ne<^ch le bjw^c,

le p^^b^iptriy leb<^p, ti<^ mi^f lom,
4^^ Ipoj le h<^OTipmbe peib

6polc ^n 6ichpibhi3h chinn-leich.

Worldling away ! the frugal dish— the book
Of holy truths — the beads — the hennit's cloak
Can tempt thee not — the locks that shade his brow.
The power that whitened guards — profane not thou.

This curious piece of antiquity, is supposed to have been

affixed to the entrance of one of these penitential retreats.

Milton's sonnet, **When the assault was intended on the City,'*

may here occur to the recollection of the reader.
I

' bocAmhlAch would be more correct.

* The <^bhp<^n, ce<^n3Al, versicle or combination which
sometimes concludes Irish poems, has been already noticed
p. 105. Similar terminations have been used by Lopez de Vega,
and other Spanish poets. They are also to be found in Arabian
authors.

366 NOTES.

' MARY A ROON.

Our highly talented and equally patriotic ooiiBt
Moore, has adapted pleasing words to the air of this song —
See his " Irish Melodies," air — MoU Roome.

•
' *' Lest the Mumier man's fiatiery "— |

Na meaUadh Mnimkneach thu, a gradh^** Let not the
Munster man deceive thee, my love ! " The persuasive powers
of some of our southern countrymen have long been proverbial. '

My worthy friend Mr. Brewer, in his ** Beauties of Ireland,'*
informs us, that in the highest part of the castle of Blarney »
in the county of Cork, is a stone which is said to have the '

power of imparting to the person who kisses it, the onenvmble
privilege, of hazarding, without a blush, that species «f roaantic
assertion which may be termed falsehood. — ^This statt^meot, is
not, however, altogether correct. To the well known " Blarney
Stone,'* there is, no doubt, attributed the virtue of imparting
to whoever, at the hazard of his neck, shall venture to kiss
it, not the privilege of uttering falsehood, as stalJNl, but an
indomitable propensity towards practising the gentle, yet
all effective, art of flattery. To praise **m season, and out
of season," and against this dangerous quality, our fair female
is cautioned in the words of the song.

I cannot avoid observing here, that v^ulgar stories of this
kind, which reflect on the morals or character of a people,
should ever be treated vrith the contempt they deserve. In the
despicable pages of the deceived and deceiving *' travellers,"
who libel our country, and the fry of conceited EngKsfa, or
Cockney, ^' tourists," et hoc genus omne, which annually visits
our shores, I should not be surprised to meet with such trash ;
but to find it gravely detailed in the work of so learned and
enlightened a writer as Brewer, is, certainly, matter of just
regret*

h

NOTES. 367

' << When on MuUanwre's mmmit "—
Mulla, or MuUaghmore, near Tuam, in the county of
Galway; an ancient residence of the Blake family.

* " Be$ide Mumeen Bawn " —
This is another of the many endearing expressions of the
Irish, which cannot be transferred to a foreign language. It
means, literally, ''my fair or resplendant darling, or heart's
treasare."

* MARY OF MEELICK.

This is one of our finest songs both in sentiment and
composition, and the Irish reader will perceive, that the
talented translator has executed his task with due attention to
the spirit and meaning of the original.

Who the fair female here celebrated was^or when or by
whom the verses were composed, I have not been able to
determine. From the last line of the third stanza, it may be
inferred, that she dwelt at a place called Meelick, and of Uiat
name there are two noted places in Conaught ; one in Galway
county, where there are extensive remains of an ancient castle,
the once proud residence of the princely race of O'Madden,
of Longford, (of which family, my valued friend, Gregory
Ffrench JVfadden, esq. of Shannon- view, in that county, is
now I believe, the acknowledged representative,) and the
other in Mayo, where I conjecture our fair one to have
resided.

' ** /n yon bright distant Isle'^ —
We have already seen that it was usual with our bards to
wish for retirement, with the objects of their love, in some shady
grove, or sequestered island, which often existed only in idea,

368 NOTES.

and I have endeavoured to explain the motives which goveroed
these wishes* In the present instance, the '' distant,^ or rather
" western " isle, ^n oile&n T^K^p, mentioned in the original,
is, one of those " happy islands," which the inhabitants of the
Western coasts of Ireland, think they frequently see emerging
from the ocean,* and suppose to be bound by some ancient
power of enchantment The belief in the existence of these
Miranda loca, seems in former times not to have been confined
to the vulgar. In the unpublished History of Ireland , remain-
ing in Manuscript, in the Library of the Royal Irish Academy,
Dublin, before referred to, p. 183 of this volume, we are gravely
told, that ** TheTuathdedanans coming in upon the Fearbofys,
expelled them into the out islands which lay scattered on the
north coasts, and they themselves were served the same measure
by the Clanna Milidhes, but what .became of the remainder of
them I cannot learne, unless they doe inhabitt an iland, which
lyeth far att sea, on the west of Connaught, and sometimes is
perceived by the inhabitants of the (hdes and Iris. It is also
said to be sometime scene from Saint Helen Head, being the
farthest west point of land beyond the haven of Calbeggs,
(Donegall.) Likewise severall seamen have discovered it att
sea, as they have sailed on the western coasts of Ireland ; one
of whom, named Captain Rich, who lives about Dublin, of
late years had a view of the land, and was so neere that he
discovered a harbour, as he supposed, by the two head lands
on either side thereof, but could never make to land, although
when he had lost sight thereof in a mist which fell upon him,
he held the same course several hours afterward. This I am
bold to insert by the way, because I have heard a relation
hereof from many credible persons, and particularly from the
said Captain Rich, allsoe in many old mapps, (especially

* Usher informs us, that they were seen by St. Brendan. — " Ultra quam ad
occasum, -nulla invenitur habitabilis tehra nisi Miranda loca quae vidit S. Bran-
danus in Oceano." — Uilur, de Hibemia, p. 813.

NOTES. 369

mapps of 'Europe, or mapps of tho worlds) you shall find it
by the name of (yBragik* under the longitude of 03® 00',
and the latitude of 50^ 20'. So that it may be, those famous
enchanters now inhabitt there, and by their magick skill
conceal their iland from forraigners. Yett this is my own
conceipt, and would have it taken for no other/' — Orig. MS.

But the most complete account of this fanciful island, is to
be found in a letter from a gentleman in Perry, to his friend in
England, printed in London, in the year 1675. The nar-
rative is so curious, and the pamphlet in which it appeared
«o scarce, that I am induced to lay it entire before the reader.
To those possessing strong imaginative powers, it presents an
ample field for romantic fiction.

** O'Brazile, or the Enchanted hlandy being a perfect relation
of the late Discovery, and wonderful Dis-inehantmeni of an
Island on the North of Ireland, Sfc,

** Honoured Gousen,

" I have received yours of the 12th of February, and
the printed relation of the certain death of that arch pirate
Captain Cusacke ; of whose death, all our Merchants here in
Ireland, are very glad ; especially my Cousen Maihew Calhoon^
from whom, Cusache took the last vessel; which, it seems,
brought him to his deserved fatal end. And in requital of your
news concerning Cusache, I shall acquaint you with a story no
less true; but I believe much more strange and wonderful
concerning the discovery of that long-talk't-of island O-^razt'/e,
' which (I believe) you have often heard of.

'' I know there are in the world, many stories and ro-
mances, concerning inchanted islands, castles, and towers, &c.

* This name may be compounded of l)|t<^f , fiction, <^01^ an island, and
lie, great.--F«i« O^Briens Irish Dietumary.
VOL. I. B b

370 NOTES.

and that our King's dominions may in nothing be ioierioar
to any other nation^ we have had an inchanted island, opoo tbe
North of Ireland, long talk't of. And, indeed, when I went
first into the Kingdom of Ireland to live, and heard those many
stories, which were common in every man's mouth, conceming
the island of O-'BraxUe^ (as they called it) which mnltitndes
reported often to be seen upon the Coast of Ulster in that
kingdom ; yet I lookt upon it as a perfect romance, and many
times laught the reporters to scorn : though many sober and
religious persons, wou'd constantly affirm, that in bright days
(especially in summer time) they could perfectly see a very
large absolute Island ; 'but after long looking at it, it would
disappear. And sometimes one friend and neighbor, woo'd
one call another to behold it, until there would be a consider-
able number together ; every one of which wou'd not be per-
suaded but that they perfectly saw it, and some of them have
made towards it with boats ; but when they have come to the
place where they thought it was, they have found nothing.
And many old people in the countrey, wou'd tell many old
probable stories, how it came first to be inchanted. I confess
Ahere were (in those days) two things made me little to wonder :

" 1. How it came to be inserted into many of our both
ancient and modern maps (as you or any man may find it
is) by the name of O-Brazile.

^* 2. The other is, what moved your cousen (that you know,
died but within these 4 or 5 years at OkuiUmgh) who was a
wise man, and a great Scholar, to put himself to the charges
and trouble (in the late king's time) to take out a * patent for
it, whensoever it should be gained : certainly he, and tfiose thai
counselled him to it, lookt upon it as some inchanted (if any
such thing there be) kingdom or island, that, in time, might be

* There is nothing more certain than that a patent was taken out for it in the
Jate king's days.

NOTES. 871

recovered. And since the happy restoration of his majesty
that now reigns, many reports have been, that it hath been dis-
inchanted or taken, yea in the time of the sitting of the last
parliament in Dublin (in the year 1663) one coming out of
Uister, assured the house of Commons (whereof he was a
member) that the inchantment was broken, and it gained ; but
it proved not so, and about two years after, a certain Quaker
pretended that he had a revelation from Heaven, that he was
the man ordained to take it, with a new ship built by hia inspi-
ration. Sec, and in order thereunto, he built a vessell, but what
became of him, or his enterprize, I never heard ; it seems the
full time was not then come. I assure you (dear cousen) I was
not then so unwilling to believe it as now I am certain of it
from very good hands, but whether (in the original) it have
been a trick of Mame, one of the works and mysteries of
Babylon, I cannot say, neither dare I dispute, but this I am
sure of, that the time, or inchantment (or what you please to
call it) is now out and the bland fully discovered, or taken, and
the manner, briefly thus:

" There is one Captain John Nisbei, who lived formerly at
Lisneskeyy in the County of Fermanagh ; this man left Lisnetkey
7 or 8 years since, and came to live eXKiUebegs in the Barony
of Boylagh and Bannagh, in the County of DunnegaU in UUter^
(a corporation you know right well). This man. Captain
Nisbet, since he came to KUlebegs hath fraught out several
vessels to France and Hollandy &c. with such merchandize as
that countrey afforded. And in September last he fraught out
. a vessel of about 70 Tiitis, laden with butter, tallow and hides,
for France f which was to bring back French wines, which vessel
being returning, and near the coasts of Ireland (as they thought)
upon the 2nd of this instant March 1674, after a most clear
frosty night, in the morning about the time of sun rising, of a
sudden, there fell a most terrible thick mist of fog, upon the
sea, round about them; which continued the space of about
three hours, and. then cleared up again, very bright. But when

Bb2

372 NOTES.

•

the mist was Tanisht, they, found themselves upon a certus
coast, close by the shore ; and of a sudden also, a yery hi^
wind, driving them still nearer to the land. When the Master,
and the rest with him (who were but 8 persons in all, yiz.
Jamei Mac Doimel the Master, Alexander Jokmoti Skipper,
Jame$ Rats, carpenter, and 5 mariners) saw themselves so near
an unknown shore, and cou'd not imagine what place it shoold
be ; for though they knew most of the shores of hreland and
ScoiUmd, yet they cou'd not possibly give any guess where they
then were. Finding themselves therefore so near land, and
some little rocks not far off them, the master gave orders to
sound what water they had; and finding it not 3 fathoms, they
thought it was the best course to strike sails and drop an anchor
(which accordbgly they did) until they might inform them-
selves where they were. And having cast anchor, they resolved
to set 4 of their 8 men ashore, to see if they cou'd learn where
they were ; and how to get off: which, after they had taken
down their boat, they did. The persons that were to goe, were
the carpenter James Ross, and 3 mariners, who took with
them swords and pistols. Presently after landing, they past
through a little wood, and within less than an English mile, in
a most pleasant green valley (wherein were many cattle,
horses and sheep feeding) they saw a very strong- like casde
appearing, unto which they repaired, and called, thinking to
find some that might direct them where they were, and what to
do, but aft^r they had long knockt, and saw nor heard any
creature (not so much as a dog) answer, they concluded it was
some waste place, and therefore left it,' and going further up a
most pleasant green hill, they saw multitudes of black rabbets,
about a mile from the castle: but when they came to the
height thereof, look which way they pleased, they cou'd see
neither man, woman, child nor house, at last, having ranged 2
or 3 hours about the country^ and lighting of none to enquire
of, they returned again to their boat, and told their fellows
aboard what success they had had ; whereupon their fellows

NOTES. 373

calling for the boat, resolved to come ashore also, all but one
mariner; which they did, and dividing themselves into two
parts, one part took to the right-hand shore, the other to the
left; both parties wandering up and down, until 4 of the clock
in the afternoon, but neither of them saw any people to enquire
of ; but much cattle, dear, rabbets, &c. but afar off in the
countrey, they saw great woods, into which they dare not ven-
ture : so that both parties returned again to their boat. At last
the weather being very cold and drawing towards night, finding
abundance of old dry wood, in the side of the above named
little wood, near unto the shore, they resolved to make a great
fire, against a great old oak, that was fallen down with age ;
and in order thereunto, some brought wood, and some others
struck fire ; at last, having made a rouzing fire, and sitting warm-
ing themselves, discoursing and taking tobacco ; of a sudden
they heard a most terrible hideous noise, towards that place ;
especially where they saw the old* castle, and almost all over
the Island, which did so terrify and amaze them, that they
presently left their fire, took their boat, and went all aboard as
fast as they couM, where they continued in great fear all night,
yet neither could nor durst stir out to sea, because when they
sounded again, they had not 2 fathoms of water, and the wind
directly against them.

'' The next morning, as soon as the sun was risen, they saw
a very ancient grave gentleman and 10 men following him bare-
headed (as if his servants) coming towards the s)iore where the
ship lay, and being come close to the water side, the old gentle-,
man calling to the master (in the old Scotch language) who
with the rest stood dpon the deck, askt him, from whence they
came? whither they were bound, and with what they were
laden? the master answered, they came from France ^ were
laden with* French wines, with which they were bound 1o
KiUyh^s^ in the Go. of Dunegall in Ireland, if it pleased God
to give them leave, then the old gentleman askt them, how
they came thither, and whether they knew where they were ?

374 NOTE8.

or how to get forth ? the master told him that before the greai
fog fell upoo them yesterday, they thought they were near tke
Coast of Ireland but where they now ¥^re, or how to get oC
he knew not in the least. Then the grave gentleman told thes,
if they would please to come ashore again, they shoaid be
courteously entertained, told where they were, well rewarded,
and guided to their own coast. Then the master askt whetber
they should have no wrong or harm done to thenselves nor Teasel
if they came ashore ? the old man promised they should not,
whereupon the master and the rest seeing no arms with litem,
resolved six of them shou'd come ashore well armed.

''As soon as they were landed, the old gentleman embraced
them one by one ; telling them, they were the most happy
sight that island had seen some hundred of years, that the islaad
was called 0-Brazile ; that his ancestors were sometimes prinoea
of it, telling them also, that he and several oUier persons of
quality by the malicious diabolical art of a great Negromanoer,
had been tyrannically shut up in the castle they knockt at
yesterday, in which several of their progenitors had ended their
miserable days ; and the whole Island a receptacle of foiies,
made (to mortals) nnservicable, and invisible until now that
the cursed time was expired, which (saith he) continued until
the last day of the last month, but 3 or 4 days since, being
askt why none answered in the castle yesterday, when the
mariners knockt so long, he answered, that though the wicked
time was expired, and that now the island was visible and any
might come upon it, yet he and the rest had neither power to
answer any that spoke to them, nor free themselves iirom im-
prisonment, until fire was kindled upon the isdand by some
good Christians: being askt, whether it was now absolutely free,
and wou'd never be inchanted again ? he told them it was now
absolutely free, and shou'd never be troubled again*, but all the
powers of darkness, when they heard that hideous noise were
finally departed.

** After which Vrords he led them towards the said castle

NOTES. 375

(the chief tower, beiug as it were demolished) where met them,
aeyerftl other rrave persons both men and women, who all em-
braced the master and the rest^ -giving them many thanks; then
the other two were fetcht out of the vessel, and all nobly
feasted and richly rewarded, and shewed the glory and riches
of the said Island, which they say is< above 60 miles in length,
and above 30 miles in breath, abounding with horses, cows,
sheep, stags, rabbets, but no swine, and all sorts of fowls, and
rich mines of silver and gold, but few people, and little or no
com, there have been cities and great towns, but all consumed.
** The men being richly rewarded were conducted to their
vessel, and shewed the ^ay out of the harbor, and directed the
way to their own coast; and came the next day at night to
KifhfbegB^ where they acquainted the minister of the town, ftnd
many other persons of quality in the countrey, who gave no
extraordinary credit to their words at first, until the master and
the rest shewed them many of the pieces of gold and silver
which were given them tiiere, which were large and of a most
ancient stamp ; somewhat rusty, yet pure gold, the master also
offering immediately to carry any gentleman to the said island,
that desired to know the further truth, whereupon some gentle-
men of the countrey, within 3 days after sent out another vessel,
and the above named Alexander Johnson^ skipper, and some of
the former mariners to guide her, to prove whether it were true
or no, who brought Uiem to the said island, where they were
nobly entertained, and returned in safety, with several gifts,
which were bestowed upon them, as also some farther relation
of the nature of the countrey. Since then, several Godly Minis-
ters and others, are gone to visit and discourse them (but at the
writing hereof, I heard nothing of their return) who, doubtless,
will bring a more perfect relation. Dear Cousen, you need not
be afraid to relate this, for I assure you, beside the general dis-
course of the gentlemen in the country, I had it from Captain
Vishet his own mouth, (whose the vessel, &c. was) since which,
several gentlemen have sent an express, with the true relation

376 NOTES.

of it, under their bands and seals, to some eminent persons in
Dublin, Thus not troubling you any farther at present, I rest,

'' Your most affectionate

'< Cousen and Servant,

Londonderry, " Wm. Hamilton.**

March, 14th, 1674. ,

<' Dear Cousen, I think your young cousen Lesly is still in
London, if you can enquire him out, pray shew him this
relation ; it may be it may concern him, because his fietther iind
a patent for it.

" W. H."

* " 7%e cold grave brings repose, let me rest in JKimatR."
<rhis line reminds us of a passage quoted by Bums from an
old ballad, describing the condition of a poor ruined female.
The bard states, that he never met with any thing more truly
the language of misery, than the exclamation in the last line.

** O ! that the grave it were my lot.
And O ! so sound as I should sleep."

END OF VOL. L

UOhlNS AND SONS, PRINTFRS, SOrTHXrARK.

27hl 021

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